Women . Architecture & Design

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Itineraries across Europe

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MoMoWo

Women . Architecture & Design

Itineraries across Europe





MoMoWo Partnership

With the Patronage of:

This publication reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.





MoMoWo

Women . Architecture & Design Itineraries across Europe

Edited by Sara LEVI SACERDOTTI, Helena SERAŽIN, Emilia GARDA, Caterina FRANCHINI MoMoWo Scientific Committee:

POLITO (Turin | Italy)



Emilia GARDA, Caterina FRANCHINI

IADE-U (Lisbon | Portugal)



Maria Helena SOUTO

UNIOVI (Oviedo | Spain)



Ana Mária FERNÁNDEZ GARCÍA

LU (Leiden | The Netherlands)

Marjan GROOT

ZRC SAZU (Ljubljana | Slovenia)

Helena SERAŽIN

UGA (Grenoble | France)



Alain BONNET

SiTI (Turin | Italy)





Sara LEVI SACERDOTTI

© 2016, MoMoWo

© 2016, UIFS, Založba ZRC, ZRC SAZU, Ljubljana

English language editing by Luigi Genta traduzioni

Design concept and layout by Andrea Furlan ZRC SAZU, Žiga Okorn

Revisions of design by MoMoWo POLITO's team

Published by France Stele Institute of Art History ZRC SAZU, represented by Barbara Murovec Issued by Založba ZRC, represented by Oto Luthar

Printed by Agit Mariogros, Beinasco (TO)

Publication of the project MoMoWo - Women’s Creativity since the Modern Movement This project has been co-funded 50% by the Creative Europe Programme of the European Commission.

First edition / first print run: 3000

Ljubljana, Turin 2016

http://www.momowo.eu

4

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Women’s creativity since the Modern Movement - MoMoWo is a

Politecnico di Torino - POLITO, MoMoWo has six co-organisers from

large-scale cooperation project co-financed by the European Union’s

universities and research centres in France, Italy, the Netherlands, Portugal, Creative Culture Programme under the Culture Sub-Programme (Education,

Slovenia and Spain. The co-organisers’ fields of interest are complementary

Audiovisual and Culture Executive Agency - EACEA). It is a four-year non-

to each other.

profit project that began on 20th October 2014.

The research teams are made up of architects, civil engineers, designers,

The project considers an issue of contemporary cultural, social and

art historians, historians of architecture, design historians, technologists, economic importance from a European and interdisciplinary perspective

political scientists and economists from six different countries. They are

namely women’s achievements in the design professions. These

specialised in: gender studies, Modern Movement history and technology,

achievements are in fields including architecture, civil engineering, urban

cultural heritage, cultural tourism and marketing. This mix of knowledge and

planning, landscape design, interior design, furniture and furnishing design

skills is essential in order to consider MoMoWo as a multidisciplinary project, some of which are still perceived as traditionally male professions.

thus providing European added value and fostering the protection and

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The project works towards the harmonious development of European

promotion of European cultural diversity.

society by removing disparities and increasing gender equality both in

Emilia Garda, Project Leader

the workplace and beyond. MoMoWo aims to reveal and promote the

contribution of women design professionals to European cultural heritage

which, until now, has been significantly ‘hidden from history’. At the same

Why the MoMoWo project?

time - considering History as a ‘living matter’ - it aims to promote and

increase the value of the works and achievements of past and present

The project originated from a number of under reported issues. The

contemporary history of women’s creativity and the tangible cultural

generations of women professionals to give strength to future generations

heritage produced by women’s works is still mostly unknown today, not only

of creative women.

by the general public, but also by students, scholars and professionals.

This project, organised for the first time on a European scale, was

Through experience gained during research and teaching it has been noticed

conceived to be interdisciplinary and is intended to give a new impetus

that, except for a few monographs or female gender anthologies, women’s

to broaden studies in Europe and beyond. Besides the Project Leader,

works are not highlighted in text books on the History of Architecture, History

of Building Technologies and Engineering, Urban History and Design History.

The project’s major research activity consists of a database of women

Furthermore, buildings designed by women are rarely included in tourist or

architects, civil engineers and designers active in their profession in Europe, architectural guidebooks of major European cities. Only a few ‘archistar’©

from 1918. It has been created to support MoMoWo cultural activities and its

women are represented by the History of Contemporary Architecture,

products, such as this guidebook of architectural and design itineraries, the although a considerable number of women architects appears in prestigious

international travelling exhibition and its catalogue, and the final symposium specialised magazines. Conversely, in 20th century history many women

and its books. Three historical workshops and their open-access publications

designers in the textiles, fashion, jewellery and ceramics fields have made a aim to collect materials to enrich the database and to share and debate the

name for themselves and their talent has been fully recognised.

design experiences of European women.

Through the project we would like to answer questions that have been raised

Two international competitions, the first for the design of MoMoWo visual

in Europe since the Twenties and that are still of great relevance today.

identity and the second, for a photography reportage on women architects’

Is there a professional space for European women in traditionally male

own homes were conceived to transform audiences from passive receivers

professions? What can be learned from European women pioneers so as

into creators and active users of cultural contents.

to improve women's current professional achievements in architecture, civil

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Annual open days held in professional women’s studios celebrate

engineering and design?

International Women’s Day every 8th March in partners’ countries. They are

The project intends to bridge the gap between past and future generations

intended to provide the opportunity to make new contacts by visiting women

in order to increase the awareness of capabilities of the female gender

architects, civil engineers and designers’ studios, thus transferring know-how and contribute to women’s liberation from professional prejudices and

between different generations, networking with professionals and creating a

clichés. This is why from the outset of the project proposal, engaging a

sense of community.

broader public with works created by women has been a priority in order to

Last, but not least, the MoMoWo website is both a repository of research

engender new perceptions of professions and new narratives in the fields of

products and experiences and their dissemination tools. Therefore, to find

architecture, civil engineering and design.

out more about the project and its activities visit: www.momowo.eu

The ambition of this cultural project goes beyond the mere cliché that

women architects, civil engineers and designers should be entrusted with

Caterina Franchini, Assistant Project Leader

tasks specifically related to women in order to make certain built spaces or

products even more successful, on the grounds that women have ‘a different

view of things’. Consequently, through its activities MoMoWo tackles a real

equal opportunities theme, in both the past and present.

In many places, tourism is extremely important for the growth of the local especially where the local economy was founded on models of industrial economy. The valorisation of the territory in tourism terms is increasingly

monoculture.

linked to interventions to identify innovative tools aimed at best combining

The Italian Ministry of Cultural Property and Activities and Tourism has

the expectations of visitors with the welcome of the locals. It is above all

defined tourism as “the most important economic ministry”. A quick, but

thanks to this crossroads of supply and demand that tourism can be a font

important example: what does valorising culture mean? In November 2012

of economic growth on one hand, and tourist satisfaction on the other.

(two years before the centenary), France opened the National Museum

The question that arises is no longer that of counting arrivals and stays

of the Great War in Meaux, and launched it with the Facebook 1914 page

(hardware) but rather on the culture of hospitality, the training of operators which told the story of a young engaged couple who had been separated

(software) and the integration with policies regarding disabled access, the

by the conflict. Again in France, every year, more than six million visitors

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environment, urban planning, and culture or architecture - as is the case here.

buy a ticket to go and see the locations of the war, and spend on average

For this reason, tourism is studied with a more integrated approach, one

6 € if they are passing through, but 88 € if they are tourists staying in the that characterises a reading of the territory by SiTI.

area. This is what 'valorising' means - or rather 'making touristic'.

This approach is then joined by the participation of stakeholders and the

In Italy it is estimated that cultural tourism generates a total of € 9,3 billion, use of innovative technology which allow us to analyse and reorganise

60% of which is generated by foreign tourists. To give an idea of how much

tourism by monitoring the flow and behaviour of tourists (for example) - a

this is in real terms, it is estimated that the added value generated by cultural preliminary analysis for the formulation of any tourism policy.

tourism amounts to over € 6.3 billion and that consequently 186,000 jobs are

For many regional economies, the tourist industry today is a new

generated.

development model able to sustain - both directly and indirectly - those

Overall, a final estimated amount of over € 11.2 billion is spent on property territories that over the years have experienced a slump in their economic

and events, half of which is sustained by foreign visitors. Once again, by

situation. The expansion of the service industry has proven to be a

applying the sectorial multipliers, the added value reaches € 8,1 billion and good chance for regions to start to come out of the economic crisis,

224,000 jobs are generated.

The various evaluations, though schematic, substantially show two things: This is why a guide on female architecture includes tourist facilities and

that culture is 'worth' approximately € 10 billion in tourism (around 24% of

itineraries.

the national total) and € 7 billion in added value; and this area of tourism

It would be a good idea to work on the product/service ratio: if the public

'employs' around 200,000 people, a quarter of the sector. But, above all,

is global and diverse, our offer cannot be a standard one but also varied,

they tell us that tourists sustain most of the direct expenses incurred by

which in fact is what is required by the Creative Europe Programme call for

culture and its induced activity.

proposals: making the itineraries in various countries accessible to a wide

It may perhaps seem sacrilegious and materialistic to treat cultural

range of targets (not only 'professional' tourists).

property and events as a factor in the production of income and

Furthermore, this guide is structured to allow tourists to use it for longer

employment: valorising does not only mean digging, recovering, renovating,

stays - not just racing through. By highlighting accommodation, tourists

listing, archiving and protecting. These are all preconditions: sacred,

will be able to make their own 'package' holiday in order to generate more

maybe, but nevertheless not the be all and end all. In an ideal financial

spin-off throughout the territory.

statement they represent an equal number of costs, against which we

must start to consider and increase the number of sources of profit. Not

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only tickets and books, but increasingly also transport, catering, shopping

Sara Levi Sacerdotti

and accommodation. In a word: tourist spin-offs.

Travelling does not help us much

in understanding […] but it does serve to

reactivate our eyes for a second.

(Italo Calvino, Collezione di Sabbia, 1984)

This guidebook offers a journey leading to the discovery of women’s

will be offered. Therefore, the guidebook is an interactive tool intended to

creativity in the fields of architecture and design that reveals women’s

transform the visitor from a passive receiver into an active user of cultural contribution to the creation of European tangible cultural heritage of the last contents.

two centuries. It encourages visitors into a personal dialogue with European

cities and countries along the most varied and even unusual itineraries.

The itineraries presented here focus on four cities - Barcelona, Lisbon,

Paris and Turin - as well as on two countries - the Netherlands and

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This publication is the result of MoMoWo’s cultural-tourist itineraries

Slovenia. They are representative of the MoMoWo partnership and

creation as well as being the first architectural-design guide devoted

evocative of cultural, geographic and landscape varieties across Europe.

specifically to women’s works in Europe. It aims to raise awareness and to

provide the information about the accessibility to sites, buildings and design Enjoying a strategic position on the Mediterranean Sea, Barcelona had

works created by women working alone, in pairs or in a team. According to

an important commercial and industrial past, but nowadays it is one of

the aim of the MoMoWo project, the guidebook mainly addresses a broader

the main international tourist destinations in the Mediterranean. Europe’s

audience, tourists and local visitors, families and young people. Given its

westernmost capital city, Lisbon is historically the place of exchange

innovative topic, it can also be a useful source of knowledge for students

between European and non-European cultures. Paris is the European

and scholars, professional architects and designers.

capital of cultural-tourism par-excellence, while Turin - at the foot of the This free publication is available to everyone including local authorities and Alps - epitomises the successful conversion from an industrial city to a

tourist organisations as a way to promote cultural tourism in their areas.

city of culture. The Netherlands and Slovenia, both historically intercultural Its digital version can be downloaded from the MoMoWo website and for

countries, are quite similar in size, despite having two totally different

some selected architectural works an augmented reality experience in situ

landscapes - flatlands and mountains.

This book of itineraries was conceived to become a pilot non-exhaustive One criterion for selecting the works of each itinerary was their proximity

cultural product since its format can be extended to other cities and

to each other, in order to allow visitors to enjoy the trails mainly by foot, countries beyond the MoMoWo partnership. It is an innovative cultural

bike or public transport. Another important criterion of selection was

product for several reasons. Firstly, its topic is new because it is focused

accessibility to the works or at least their façades and exterior spaces.

on female gender. Secondly, it is not only a guide about architecture

This last criterion inevitably led to the exclusion of many private interiors or design, as it considers these two fields merged together in the

even though they are note-worthy in contemporary architecture or

manifestation of the project’s process. Thirdly, it combines cultural and

represent significant steps for the author’s career.

tourist contents for technical and informative purposes. Finally, it has

To include a large number of women professionals it was decided to restrict

double use, as the reader can start reading either at the selected works or

the number of works of the same author, thus favouring visibility of less

at biographies and works of women-pioneers.

known architects and interior designers worthy of attention for the quality

Emilia Garda

of their work. The first investigation, in fact, concerning the works quality was based on a close examination of European prizes and awards such as

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EU Mies van der Rohe Award, EU Prize for Contemporary Architecture, EU

About the methodology and the criteria for the works’ selection.

Prize for Housing and Leading European Architects Forum - LEAF Award.

The eighteen itineraries published here showcase different types

Taken into close consideration were prizes and awards given by prestigious

of urban and non-urban works, sites and buildings, created by

institutions such as Biennale di Venezia, Triennale di Milano, Musée des Arts women in the twentieth and twenty-first centuries. The selection of

Décoratifs – Paris, International Union of Architects (Benedictus Award).

works was undertaken to offer a wide variety of building types such as

Whereas national awards included Spain’s Architecture Prize of the Higher

residential and industrial buildings and complexes, educational, religious,

Council of Architects, France’s l’Equerre d’Argent Prize, Slovenian’s three

commercial and transport buildings, power stations, medical and care

awards Plečnik Award, Golden Pencil Award and France Prešeren Award for

centres, cinemas, theatres, museums, offices and banks, sports halls

Architecture and lastly the Germany’s Designer’s Association Iconic Award.

and stadiums, playgrounds and gardens. The selection includes ex-novo

Local prizes were also taken into account including Fundació Princesa

buildings or reuse of pre-existing buildings, refurbishments and restoration

de Girona Arts i Lletres - FPdGi Prize, Barcelona Foment de les Arts i del

works, extensions of buildings, urban design, garden design, landscape

Disseny - FAD Awards; Portugal Leading Design Hotel Prize; Architetture architecture as well as interior design. The Paris itineraries presents

Rivelate Prize (Turin); Golden Amsterdam Architecture Prize. Prizes given

furniture and furnishings designed by women which are housed in the

to architects included Royal Institute of British Architects - RIBA Stirling

renowned Musée des Arts Décoratif.

Prize, accVision prize-Women and Architecture and Prix Femme Architecte

awarded by the Association pour la Recherche sur la Ville e l’Habitat -

Apart from its introductions, this book is made up of three itineraries

ARVHA.

presented in each geographical section (city or country). Each itinerary

The contents of this book are the results of academic research that

is preceded by a description of the urban historical context and its

was based on archives and bibliographic sources such as anthologies,

transformations. All geographical sections are completed by a short

biographical article about one or more women pioneers with the exception

almanacs, specialised magazines and technical journals. Investigations

of Barcelona. The reasons of the absence of Spanish pioneers are well

were also done in situ, in order to analyse building structures, techniques explained in that section.

and materials. Series of photographs were taken to illustrate and

document the works.

One hundred and twenty-five works are described. Each work is

identified by the following data: work’s complete name in English, and

An innovative and interactive research approach was applied ‘up-stream’

work’s complete name in national language or its local name - type of

through the active involvement of women architects and designers in

work, complete list of authors, year or years of creation and complete

suggesting works to be published. This approach was tested in Turin

address. In the list of authors, women’s names are written in bold type

for the first MoMoWo public presentation at the Festival Architettura in

and the members of a studio follow the studio’s name, while for brevity,

Città 2015. On that occasion, a call was launched by the architects and professional titles are not mentioned.

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engineers’ associations in order to receive work from women professionals

The texts are easily understandable by non-specialists. In most cases,

to be presented to the public. That call asked for the author’s favourite and where possible, architectural works are described in their specific urban

not necessarily the most popular one.

context, as we consider History of Architecture part of Urban History. At

The works selected by MoMoWo have since become part of the guided

the end of the book are the index of women architects and designers and

visits “Women and the city. Fragments of an architectural talk” and of the

a bibliography. Titles listed in this bibliography do not include a complete

open air installation “W = Women”. This installation was formed by QR

repertoire of references or sources as they are considered useful to the

codes of the single works and provided the festival participants a virtual

reader as a base for further personal study.

journey across buildings and interiors designed by women in Turin. The

The MoMoWo partnership is grateful to all authors, the architects, the

designers who participated in these events have become MoMoWo’s

designers and their studios, and professional and non-professional

first ‘ambassadors’. This ‘up-stream’ involvement of a specific audience

bodies who actively contributed in the creation and dissemination of this

contributed to raising awareness of belonging to a European cultural

guidebook.

community and was the first step to setting up a network supporting the

sustainability of the MoMoWo project.

Caterina Franchini

Itineraries

Barcelona

Lisbon

Paris

Turin

The Netherlands

Slovenia

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BARCELONA

BARCELONA

Barcelona is a cosmopolitan city with more than 1 million inhabitants (more were promoted by the industrialization of the 19th century, the time of the than 5 million people live in the metropolitan area). The city is located

monopoly of the textile trade with Cuba. The economic growth reached its

on the shores of the Mediterranean Sea and it is widely known as the “City

peak in the First World War and started its fall with the crisis of 1929 and

of Counts” due to its past as the capital of the former County of Barcelona.

the Spanish Civil War. The city, which supported the Spanish Republic, was

The capital of the Autonomous Community of Catalonia is one of the most

bombed several times until it was finally occupied by Franco’s troops in

important ports in Europe.

1939.

The first settlements in Barcelona date back to the Neolithic; some time

A third stage for the development of quality architecture in the city was

after that, the Laietani, Iberian people occupied the area. According to legend, boosted by the celebration of the Olympic Games in 1992 and, later on, the

after the First Punic Was, Carthaginians came to the Iberian Peninsula

Universal Forum of Cultures in 2004. In both cases, besides the construction

and the city was founded in 230 B.D. by Amilcar Barca, Hannibal’s father.

of relevant buildings, some important urban interventions were carried out

After that, the city was conquered by the Romans in 218 A.C. In Ptolomeo’s

in the city, with the extension of the road systems and the creation of public Mapamundi (2nd century A.D.) the city was referred to as Barcino, evoking its areas in all the urban area. Although the industry has been the traditional

Carthaginian past.

economic drive of the city, the growth of Barcelona has progressively

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Barcelona reached its first period of prosperity at the end of the 13th

expelled the industrial areas beyond its limits. In the last years Barcelona

century when it became a settlement for merchants in the Mediterranean

has focused on commerce and service, as well as knowledge-based

Sea. The Medieval urban remains are today an essential part of the Gothic

activities with important research parks.

quarter. A second crucial moment for the history of the city dates back to

The patrimonial magnificence of Barcelona stands for one of its most

the interventions carried out in the mid 19th century and the outcomes of

prominent tourist attractions. From the historical centre with the Cathedral

the Universal Exhibition of 1888. Once the Gothic walls were demolished,

and the narrow streets of the Gothic quarter to the original Catalan

the engineer Idefons Cerdà designed the urban plan of the new bourgeoisie

Modernism, the city is truly fascinating due to the quality of its old and new city, with its characteristic blocks with cut squares. This expansion was

architecture. Since the Olympic Games were held in 1992, several landmarks

the home of the so-called “Catalan Modernism”, a national version of the

have been built: this is the case of the Agbar Tower by Jean Nouvel, Saint

Art Nouveau, which was supported by the rich clients of the bourgeoisie of

Jordy Sports Centre by Arata Isozaki or the Museum of Modern Arts by

Barcelona. Figures such as Antoni Gaudí, Domènech i Montaner or Josep

Richard Meier. In some way, these projects have gone further with the

Puig i Cadafalch provided the city with its original and visual uniqueness of modern architecture of Barcelona defined in 1929 by the Mies van der Rohe

a cosmopolitan and modern city. These urban and architecture interventions

Pavilion built for the World Exhibition held in the city.

itinerary 1

The first itinerary shows the activity of female architects in Barcelona provides a suggestive reference to the function of the construction, as it in the historical centre of the city and the area of the 19th century

is complemented with a sculpture by Tàpies. Probably, the most ambitious

Ensanche (the widening). As these areas are highly protected, the

project in this route is the one of the Gardunya Squre (7) by Carme Pinós

interventions carried out have been designed with a special sensitivity

(2015) in the Raval quarter, where the building closes the back façade of towards preserving the historical identity of the area while at the same

the popular Mercat de la Boquería, supporting the logistics operations of

time adding modern architecture elements. This is the case of the project

the market. In addition, the project envisaged the construction of a block

developed by Mercè Zazurca y Codolà and César Sánchez Medrano in

of houses and a new urban hub in the very centre of the city.

the Barcelona Resident - Student Residence (1) located in the medieval

The itinerary also includes three commercial interior design projects.

quarter of the Born. This project shows the perfect connection between the The first one can be found in the hallmark gothic Cathedral of Barcelona,

two cloisters of the old Saint Augustine convent. Similarly, the colourful

with the bold and respectful Shop in the Cathedral Cloister (3) by Pilar

restoration of the Saint Catherine’s Market (2) by Benedetta Tagliabue

Líbano. In the Mandarin Oriental Hotel (4), located in the heart of the

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and Enric Miralles (2005) offers a suggestive dialogue between the iron

Passeig de Gràcia, the Italian-Spanish architect Patricia Urquiola offers a

structure and the glass walls which were frequently used in 19th century

rich proposal intended to recover the concept of the 19th century grand

markets and Gaudi’s mosaic tradition.

hotels by combining functionality with luxury and exotic features. Finally,

In the Antoni Tàpies Fundation (5), Roser Amadó and Lluís Doménech

Olga Felip’s studio developed the venue of the Malborough Gallery (6) in

Girbau (1990) carried out an intervention in an Art Nouveau building

Barcelona: the building was designed with pure materials and clear spaces

designed by the architect Domènech i Montaner between 1880 and 1885.

underlining the commitment of the studio to current trends and achieving

The façade, which keeps its brickwork and large windowpanes,

an attractive façade with a comfortable and friendly interior design.

A.M.F.G.

itinerary 1

Barcelona Resident - Student Residence

1

Carrer Tantarantana, 13-17

Saint Catherine‘s Market

2

Avinguda Francesc Cambó, 16

Shop of the Cathedral Cloister

3

Pla Seu, 3

Mandarin Oriental Hotel

4

Passeig de Gràcia, 38-40

18

Antoni Tàpies Foundation

5

Carrer Aragó, 255

Marlborough Gallery

6

Carrer d’Enric Granados, 68

Gardunya Square

7

Plaça de la Gardunya



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This student hall of residence

follows the traces and design of the

Chocolate (linked to Barcelona’s

between construction stages as well

is located in the Born Square

old quarter, setting the height and

Association of Pastry Chefs, who

as provide some shade. The use of

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area of Barcelona. The project

interior spaces. The new residence

promoted its foundation), which

steel materials in the interior and

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was carried out by the architects

has separated various functions

can be found in the courtyard

exterior parts of the building – the

iden

Mercè Zazurca and César Sánchez

by area, with accommodation on

connecting the two cloisters of the

gallery and the carpentry - supplies a

Medrano who aimed to optimise

the top floor and activities and

old Saint Augustine convent. As

modern solution to the use of existing

lonares

and increase the historical value of

leisure areas on the ground floor.

for the entrance, a planted gallery-

construction elements.

the existing and adjoining buildings.

The ground floor includes the

façade in the inner courtyard was

A.M.F.G.

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The volumetric of the building

Aula Magna and the Museum of

designed to guarantee continuity

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he market was built in the mid-

of the MUHBA - Museu d’Història

by the 'trencadís' of Antonio Gaudí,

the building. Tagliabue was awarded

ina

19th century in the area of the

de Barcelona (the Barcelona History

who used broken shards of tiles. The

the prestigious RIBA (Royal Institute

ter

old convent of Saint Catherine, which

Museum). It is worth mentioning

mosaic of the roof was designed

of British Architects) Stirling Prize for

taca

had been demolished following

that this is the oldest roofed market

by Toni Comella as a metaphor of

Best Building in 2005 by the Scottish

tsan

Mendizábal’s ecclesiastical

in the city and its refurbishment was

a sea coloured by the idea of fruit

Parliament and in 2010 she received

confiscations. The remains of the old

part of the works to restore the old

and vegetables. The new roof, which

the RIBA’s International Fellowships.

.merca

convent, which were found during

quarter of Barcelona. Benedetta

covers the original structure, is based

Other examples of Benedetta

the restoration works carried out by

Tagliabue (Milan, 1963) and Enric

on a set of irregular wooden vaults

Tagliabue’s work in Barcelona include

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Tagliabue and Miralles, can be seen

Miralles (Barcelona, 1955) introduced

and big arches supported by steel

the Park Diagonal Mar (2002) and the

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in the subfloor of the market as part

a colourful roof which was inspired

beams that seem to be floating over

building of Gas Natural Fenosa (2007).

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The Botiga del Claustre is a

when the façade was closed.

the church. The space is closed by a

in 1980. Her company has worked

unique little bookshop found in

The selection of items includes

simple stained glass window which

on different stores of the couturier

the cloister of the Gothic Cathedral

religious products and souvenirs.



keeps the original forge closure

Antonio Miró, for Nespresso all over

of Barcelona, which has roots

In order to keep with the austerity

.org

without interfering in the visual

Spain and for countless commercial

in the Paleo-Christian style, with

of the religious interior design, the

aspect of the project. Pilar Líbano

establishments, offices and homes.

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Romanic interventions. In 1298, final

designer has chosen hardwood and

is a renowned interior and furniture

A.M.F.G.

construction work began, finishing

noble metals for the bookshelves:

tedra

designer born in Barcelona, who

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at the beginning of the 15th century

elements that can also be found in

graduated in the Massana School

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23

lona

/barce

This hotel belongs to the Mandarin since 2001. The objective was to

and beauty. In order to do so, the

For the lobby, the designer used a

Oriental chain. The original

create an international icon for the

designer resorted to the classic

clean ceiling to highlight the spacious

tal.com

building dates back to 1955 and it

Oriental Mandarin brand, originally

19th century grand hotel concept.

hall introducing golden aluminium

ien

hosted the Hotel Hispano-Americano,

located in Hong Kong, and design

The hotel reception was accessed

lattices. In the Blanc Restaurant, the

inor

adapted in 2004 by the studio of

a building as the flagship of these

by a walkway without stairs or

designer re-interpreted an interior

Carlos Ferrater and Juan Trías de

hotels in Europe. The intervention

any obstacle: Urquiola used a silk

garden with a great white net with

.mandar

Bes, who commissioned the interior

was intended to be timeless and

and wool handcrafted floral carpet

hanging vegetation. B & B Crinoline

design to Patricia Urquiola, a designer

overcome any particular trend; at the

which resembled Japanese Imari,

Collection seats highlight the oriental

www

born in 1961 in Oviedo who has

same time, the building was aimed

and provided luxurious and silent

style of the garden.



worked in her own studio in Milan

to provide comfort, functionality

floors evoking oriental landscapes.

A.M.F.G.

1. 4





1. 5

nd ent

n a

This project focussed on the

restoration and refurbishment

of the old building of the Editorial

ratio urbishm

Montaner i Simón, which was

sto ref

originally designed by the modernist

Re

architect Lluís Domènech i Montaner

and was built between 1880 and

1885. Since 1990, it has been home

to the museum and the cultural

centre devoted to the Catalan artist

Antoni Tàpies. The Foundation was

created by the author in 1984 and it

24

includes more than three hundred

works by Tàpies. Since this is a

building between party walls, the

famous artist created a sculpture

for the top of the building intended

Doménech (e.g., the project of the

indoor spaces. The project received

worked together since 1975 and their

to increase its height: Nube y Silla

Historical Centre of Lerida or the

the Década Prize, awarded by a

buildings feature rationalism and

.org

(1990), with the chair evoking

Archive of the Crown of Aragon), the

committee including Robert Venturi

functionality, in addition to a deep

ies

aesthetic contemplation, a common

architects focus on the relationship

and Denise Scott-Brown. Roser

respect for the urban elements of

iotap

element in Tàpies’ production.

between architecture and the city,

Amadó (Barcelona, 1944) and Lluís

their projects.

As in other works by Amadó and

and on the creation of striking

Doménech (Barcelona, 1940) have

A.M.F.G.

.fundac

M

www



1. 5





1. 6 n

and esig

tion r d

The renovated Marlborough Fine

Art Gallery opens in Barcelona

rio

on 13th September 2014 with an

exhibition devoted to the painter

enovaR inte

Manolo Valdés. The gallery project

was developed by Josep Camps and

Olga Felip (named Young Architect

of the Year 2010 in the LEAF Awards

and awarded the Arts i Lletres Award

25

of the Fundació Princesa de Girona

2015), from the studio Arquitecturia.

The Gallery building has two hundred

square meters of covered premises



and includes the Marlborough

Gallery, which is very well known

h.com

in the international panorama. The

first Marlborough Fine Art Gallery

which allow pedestrians to see the

colour of the walls contrasts with the

lboroug

developments in the Museo de la

was founded in London in 1946, and

inside of the building, consisting

polished concrete floors creating an

Energía de Ascó in Tarragona and by

iamar

was later established in Barcelona

of a white area with a second floor

aseptic but warm atmosphere that

the Plaza del Ábside of the Cathedral

ler

in 2006 in a large exhibition space

leading to the central part of the

is particularly suitable for exhibiting

of Tortosa.

.ga

which is ‘open’ to the street by means

building, where several offices and a

contemporary art. Arquitecturia

A.M.F.G.

of steel profiles and glass plates

meeting room are located. The white

is a studio renowned for its

www



1. 6





1. 7l

renewa

rbanU

26

The Plaça de la Gardunya

goods lifts for logistics operations.

completed with the inauguration of

effects and the irregular shape of

(Gardunya Square) is an urban

This façade does not compete with

the educational centre in academic

green areas. All the projects have

project by the studio of Carme

the existing roofs, but overlaps new

year 2016–17. The square will

been designed by Carme Pinós

Pinós, and comprises several

ones to host new stands. The main

be bordered by thirty-nine official

(Barcelona, 1954), an architect who

works which have redeveloped an

idea is to create non-symmetrical

social housing residences on the

opened her own studio in 1991.

area that was originally set up to

rhythms integrated with the trees

other side of the new venue of the

She was awarded the Spanish

support the logistics operations

and the rounded shapes of the

teaching institution. The design is

Architecture Prize of the Higher

of the Mercat de la Boquería. The

square. Moreover, in 2015 the

intended to create small dynamic

Council of Architects in Spain in

back façade of the market - one

foundation stone for the new Escola

public spaces in the middle of

1995 and the National Architecture

thousand square meters in size - is

Massana, a fine arts centre, was

an area of remarkable historical

Prize in 2008.

home to new stands, facilities and

laid. The building is expected to be

interest, with different façade

A.M.F.G.

1. 7

itinerary 2

The second itinerary starts in the Barceloneta - Seafront Promenade (1). line of buildings, in the northern area of the Promenade, the Spanish At the beginning of the 19th century, this area contained the entirety

National Radio Venue (2) de Carmen Ribas (2008) and Pere Joan Ravellat,

of the city’s textile industry as well as a good number of warehouses and

in another industrial area in the Poblenou, offers a modern image in the

workshops which blocked the sea façade of Barcelona and pushed the old

façade which combines the logo of the company using solar protection

fisherman’s quarter out to nearby zones. As textile activity progressively

sheets to cover the building. The principle of energy efficiency and a

abandoned the area to concentrate itself in the suburbs of Barcelona, the

commitment to refurbishing the downgraded areas of the city can also be

Paseo Marítimo de La Barceloneta turned into a leisure area with public observed in the building for the Catalan Economists' Association (4) by

baths and picnic areas. The urbanistic boom and the Olympic Games

Mercé Berengué and Miguel Roldán in the area of the Gala Placidia square

held in 1992 in Barcelona promoted the opening of new spaces, such

or the Passeig de Saint John Refurbishment (3) by Lola Domènech, where

as the Muelle de la Barceloneta and the Paseo Marítimo, which included sustainability and biodiversity are prioritized with the pedestrian use of the the recovery of the maritime façade and beach for tourists and local

street. In the final part of the itinerary we recommend a visit to the Social 27

citizens. Olga Tarrasó (1995–2001) was one of the architects in charge

Housing Apartments for Young People (5) developed by Marta Peris and

José Manuel Toral, with simple forms and an efficient use of light and

of this ambitious intervention planned by the Council: the project aimed

materials. The last stop on this route is the Fabra Observatory (6), located

to remove obstacles and optimize traffic. The intervention in the Paseo

in the Tibidabo mountain, a spot with a privileged view of Barcelona,

Marítimo was designed following the city strategy which had been planned where the architect Julia Schulz Dornburg designed a unique backdrop to

during the years prior to the Olympic Games: this strategy included a

the “dinners with the stars” held in the old astronomic observatory built

global plan for Barcelona and a conceptualization of the city model. On a

in 1904. The spectacular scenography of the event is further aided by

different level, the so-called "Forum 2004 Operation" implied fragmented the ambient lighting that gives visitors the feeling they are ‘floating‘ over actions, with high level projects regarding design and technology; however,

Barcelona.

this strategy lacked a general conception model for the city. In this second

A.M.F.G.

itinerary 2

Barceloneta - Seafront Promenade

1

Passeig Marítim

Spanish National Radio Venue

2

Carrer de Roc Boronat, 127

Passeig de Sant Joan Refurbishment

3

Passeig de Sant Joan between Arc de Triumph and Tetuán

Catalan Economists' Association

28

4

Plaça de Gal·la Placídia, 32

Social Housing Apartments for Young People

5

Av. de Josep Vicenç Foix, 122

"Dinner with Stars" - Fabra Observatory

6

Carretera Observatori Fabra, s/n



6

2

29

5

4

3

1

2



2. 1n

esig

n d

Urba

30

An ambitious work led by the

cleaning the seafront by removing

platforms with sports clubs and

to 2000. The promenade also includes

Barcelona Council and its technical

urban obstacles and improving

other services); on the upper level a

Nu benches (1991), designed by

staff. This project aims to recover an

connections with Barceloneta. It is an

pedestrian area was designed, including

Tarrasó with Jordi Henrich for Santa

area which had been downgraded

unremarkable public area between

a bicycle lane. The main aim was to

& Cole. The galvanised steel structure

due to its proximity to the port and

the neighbourhood and the sea,

keep the streets pointing out towards

united with tropical wood allows a

industrial premises.

with several squares adapted to the

the sea by means of the pavement, the

number of compositions and, in fact,

The project was set up in two stages

buildings’ shape. A bay pointing out

plants, and the Kanya lights.

has become a characteristic feature

and aimed to promote use of the

towards the sea was built in order to

Olga Tarrasó (Navarrés, Valencia, 1956)

in the urban landscape of modern

beach by the citizens of Barcelona;

protect the lower part at the beach

was a member of the Urban Projects

Barcelona.

additionally, it contributed to

level (hosting terraces with wooden

Office of Barcelona Council from 1981

A.M.F.G.

2. 1





2. 2

ovo

The building was designed to

host the Spanish National

Ex-n

Radio in Barcelona, and the main

functions were broadcasting and

administration. The building is

located in an area of industrial

conversion in the Poblenou of

Barcelona. It is part of the urban

transformation project known as

22@Barcelona, which is aimed

31

at converting industrial spaces in

Barcelona into an innovative district,

focussed on activities related to

knowledge.

The building is a rectangular

construction with a car park,

ground floor and four open floors.

service walkways that can be found

It is supported on concrete pillars

throughout the four sides. Between the

with screening walls and a central

third and fourth floor there is an open

communication area. Walkways can

space, due to the current neighbourhood

be found in the four sides of the

bylaw, which states that all buildings

building which aim to provide some

must have open spaces or terraces to

of Architecture. In 2007, Olga Schmid roof structure of the San Antonio

shade indoors. These colourful

avoid the feeling of being 'trapped'.

joined the studio as an associate

dominical market or the restoration of

resources also provide the building

Ribas and Ravetllat teach architecture

architect. Also in Barcelona, you may

the Orlandi House into a Civic Centre.

with a second skin and hide the

at Barcelona’s Higher Technical School

find some of their designs like the

A.M.F.G.

2. 2





2. 3l

renewa

rbanU

32

This urban intervention was

cast nice natural shade over the

urban intervention (which relied

Cerdá (1860), adapting the streets

planned with two main

street. To improve the draining

on the collaboration of engineer

for pedestrian use and presenting a

objectives: on one hand, it aimed to

system, a drainage pavement was

Teresa Galí), was the recovery of

new use for the streets.

work as a green corridor leading to

designed with lawn and brickwork.

the Passeig de Sant Joan as a

The project was a finalist in the

the Park of Ciutadella, and on the

The automatic watering system

social area, with a project where

Fad awards 2012. The promenade

other promotes the pedestrian use of

takes advantage of water tables

biodiversity and sustainability are key

was further extended by the same

this street.

and autochthonous species are

features. In addition, this intervention

architect in a recent intervention

Two new lines of trees were added

continuously used. One of the

was undertaken in full respect of the

(2014).

to the existing ones, in order to

most relevant achievements of this

urban layout designed by Ildefonso

A.M.F.G.

2. 3



2. 4

Ex-novo

The building is part of a bigger generating several galleries

project intended to revitalize the

shaping the heart of the building

urban area of the Plaça de Gal·la

and emulating the Ensanche de

33

Placídia and is located in the new

Barcelona. The building’s main

edge of the square. It is a six floor

feature is its visibility, since the

building designed as a sequence of

façades (especially at night and

overlapped boxes, which are defined

with selective lighting) make the

by the use of three materials: glass,

inside part of the building appear

aluminium and wood. The architects

transparent and interactive with the

have created a sustainable building

square.

with low energy consumption,

In 2014, the project was awarded

efficient energy systems and air

the prize to the best non-residential

conditioning: four façades receive

project, by NAN Arquitectura y

daylight, while the south façade

Construcción, with the Catalunya

is provided with a double-glazed

Construcció Awards, and with the

vented panel. This particular

AIT Award.

façade works as a thermal cushion

A.M.F.G.

2. 4





2. 5

Ex-novo

This project was designed to create

36 apartments for young people

in a social housing project. The

building is structured in independent

areas that require a basement floor

to balance out the difference in

level and which gives access to the

car park. The elevation of the flats,

with setbacks and empty areas, is

aimed to promote sun exposure of

the houses. A single type of window

34

was used for homogeneous and

plain façades. Sun protection is

guaranteed by means of aluminium

arcades that provide shade and

create plastic richness in the façade.

This project was awarded the FAD

2009 Awards, due to the quality of

Toral was established in 2003; both

Manuel Toral (Madrid, 1978) are particularly interested in social housing, and a simple and smart housing plan in

architects were trained in Barcelona

move away from commercial criteria, working with dynamic floors with two-

area like Can Carellau, a place where

and in the studios of Esteban Bonell

way spaces, or with intermediate spaces that enrich the conflict between the

no examples of architectural quality

and Rafael Moneo. Marta Peris

public and private sectors.

could be identified. The Studio Peris +

(Palma de Mallorca, 1972) and José

A.M.F.G.

2. 5





2. 6

ent

urbishm

Ref

35

e.htmlm

D inner with Stars is an unmissable conference. The observatory and the Germany, 1962) included the floor most popular works can be found in cat/hos.

event in a Barcelona summer.

dinners are held in one of Barcelona’s

boarding of the area in which

the Xian Warriors exhibition (finalist

elle

Held in the Fabra Observatory,

privileged viewpoints. The main

the activity is carried out. The

of the 5th “Salón de Arquitectura

str

it aims to combine scientific

building was inaugurated in 1904

particular scenography of the event

Interior” 2005), or the City of

dissemination and astronomic

and designed by architect Josep

is supported by means of ambient

Barcelona Award 2002 in Design for

observation with enchanting cuisine.

Doménech. It was built for studies

lighting that highlights the feeling

the exhibition design “Cosmópolis.

soparsambe

The plan includes al fresco dining,

in astronomy, meteorology and

of ‘floating’ over Barcelona. The

Borges and Buenos Aires”.

w.w

guided observation of the night

seismology.

author is an expert in exhibition

A.M.F.G.

w

sky with a telescope, a visit to the

The intervention of architect

curatorship, exhibition design and



permanent exhibition and a scientific

Julia Schulz-Dornburg (Munich,

ephemeral architecture. Some of her

M

2. 6

itinerary 3

The third itinerary of Barcelona as designed by women architects includes Visitors are advised to enjoy two works which are particularly relevant several landscapes of the western part of the city. Starting by the Zona

from the urban and social points of view. One is the the Joan Miró Library

Franca, which unites several quarters and industrial areas that hosted (4) which was designed by a group of architects including Beth Galí, in the

harbour activities and working-class houses built in the industrialisation

Ensanche of Barcelona. This was the city’s first building intended to be used era, we can find a project by Blanca Lleó: 97 Houses for Young People (1).

as a library. The second example is the restoration of the Mil.lenari Park

This project provides rented accommodation for young people, representing

(5) by Isabel Bennasar and Anna Noguer, who designed a clever solution

a remarkable example of energy efficiency and social policies in the city

for access to the building and the problems relating to the various levels.

by combining modern design, low-cost construction and sustainability.

Finally, in the site of an old concrete factory, Anna Bofill and architects of the The houses include outstanding views of the Montjuic Mountain, where

Architecture Workshop of Ricardo Bofill, planned the "Walden 7" Building (6) the Botanical Garden of Barcelona (2) is located. Bet Figueras, together

in 1973. This was an ambitious social housing project inspired by the Unité

with other professionals, has been able to group the botanical species of

d'Habitation of Marseille by Le Corbusier. The "Walden 7" building is still the Mediterranean at the Botanical Garden following modern landscaping

today managed by open assemblies of neighbours.

models regarding respect of the environment and water saving.

A.M.F.G..

36



itinerary 3

97 Houses for Young People

Joan Miró Library

1

4

Carrer de la Mare de Déu de Port, 179

Vilamarí, 61

Botanical Garden of Barcelona

Mil·lenari Park

2

5

Carrer Dr. Font Quer, 2

Carrer Angel Guimerà - Sant Just Desvern

Social Service Centre, Local Archives and Landscaping

"Walden 7" Building

3

6

of the "Waldorf" Block - Carrer de Calàbria, 38

Carretera Reial, 106 - Sant Just Desvern

37

5

6

4

3

2

1

3



3. 1

This project developed 97 flats to

be rented out to young people

Ex-novo

and located in the Free Trade

Area of Barcelona. The building

is structured over five floors and

was designed as a long tablet with

a diagonal sequence of empty

spaces aimed for use as social

areas (community rooms, terraces,

yards, etc.). This strategy promoted

the interaction of private houses

with the city environment fostering

the air circulation. Each flat is 40

38

square metres in size, with a well-lit

area provided with large double-

glazed French windows to promote

energy saving. In addition, colour

slats (green, glue and mustard)

have been installed to control the

interior lighting. The slats are also

and material, using concrete for the

the integration of the building with

in the Escuela Técnica Superior de

able to capture sunlight, moving

structure and panels and designing

the environment. In addition, these

Arquitectura (Higher Technical School

like sunflowers following the energy

a sustainable system without waste.

areas also can be used as social

of Architecture) of Madrid and is one

source.

The compact image of the building

meeting points for young people.

of the most renowned and prestigious

The project was developed in

is nuanced by several empty spaces

Blanca Lleó (Madrid, 1959) is a

architects in Spain.

modules in order to save both time

in the façade for air circulation and

Professor of Architectural Projects

A.M.F.G.

3. 1





3. 2

ovo, ign

Ex-n des

garden

39

The Botanical Garden is located living in the Mediterranean climate placed in terraces. The garden designed in respect of ecology and

cat/s.

in Montjuïc. It was created in

and originating from all over the

also has garden centres, a botanic

the local ecosystem.

1999 and was intended to be the

world, and they are grouped into 5

laboratory, an auditorium, a library

Bet Figueras (1957–2010) was one

ncie

first botanical garden in the city,

phytogeography areas: California,

and a restaurant. It is also home

of the most famous environmental

as the previous one was rather

Chile, Australia and South Africa

to the Salvador Museum, which

architects in Spain. She was

useucie

small for Barcelona. The creators

(as well as the Mediterranean).

includes 800,000 samples of

trained in Berkeley, Georgetown

of the project were Carlos Ferrater,

The garden also includes species

botanic species collected since the

and Edinburgh and since her

Artur Bossy, Joan Pedrola and

from China and Japan. The total

17th century. The botanical garden

return to Barcelona in the 1980s,

http://m



Bet Figueras. This garden is also

number of species is around 7000,

has a neat style, following the

she contributed to renovating

home to a number of species

grouped in triangular platforms

artistic trend of land art, and was

landscaping. A.M.F.G.

M

3. 2





3. 3l

renewa

rbanU

This project by Conxita Balcells

Associates (Barcelona, 1962)

contributed to recovering interior

areas in the Ensanche de Barcelona

40

block, making these spaces available

for public use. The intervention was

carried out in the site of the old

Waldorf cinema. The project was

developed in the ground floor, the

basement and the central area, and it

hosts the Centre for Social Services

Several kinds of flooring (concrete

areas are interconnected by glass

rather original solution for a place

and the Local Archives, which can be

and draining floors) and colours have

wall coverings which are partially

which was previously unused, and

accessed by an interior pedestrian

been used for the leisure area and the

closed by metallic slats that allow

meets the demands of social areas of

corridor.

children’s area. All areas are bordered

the interaction of the interior and the

the El Ensanche neighbourhood.

The central area hosts a leisure zone

by planter-benches with aromatic

exterior areas.

A.M.F.G.

for the people of the neighbourhood.

flowers and carpet plants. Social

This project can be regarded as a

3. 3





3. 4

Ex-novo

41

T

o

he building is located in the

area for children, a bar, as well as

other intended to be used by

with the environment thanks to the

Joan Miró Park, in the Ensanche

ping-pong and bowling premises.

adults. The long and narrow

porches and the water, resembling

anmir

of Barcelona. The first project for

The park is decorated with

corridor is overlooked by two walls

the Barcelona Pavilion by Mies van

this park, opened in 1983, was

Lamparaalta streetlights (1983),

working as screens that reflect

del Rohe.

cat/bibjo

designed by Beth Galí, Quintana,

designed by Galí and Quintana to

the sunlight, casting light on the

It was the first building conceived

na.

Solanas and Arriola. Galí was the

shed light on the palm trees, which

two porches. The shadows cast

as a library in Barcelona, and also

one leading the last redesign of the

were awarded with the Delta de

by metal 'people', designed by the

the first one to have an automatic

rcelo

area in 2006. The park is devoted to

Plata ADI-FAD in 1984.

creators of the project, lend the

catalogue for its resources. 1991

w.baw

the Surrealist artist Joan Miró. The

Access from the park separates

setting a casual character. The

FAD award finalist for New-build

w

area contains pergolas and climbing

the building in two symmetrical

building, surrounded by ponds, is

Architecture for Public use with the



plants, a wood, sports facilities, an

zones, one for children, and the

reserved and simple and interacts

Joan Miró library. A.M.F.G.

3. 4





3. 5

ign

des

ardenG

42

.htm

This project focused on the roof central part used for shade over the profiles and slate panels.

developed several projects ranging

of a car park designed as a

area set aside for children. Spaces

The project was one of the finalists

from the urban to the domestic,

landscape for pedestrians. The

are bordered by planters close to

of the FAD awards in 2007.

with an intense activity in public

onesverdes/017

project is next to an old Dominican

the pergola so that climbing plants

Architect Isabel Bennasar (Menorca,

construction, restoration, housing and

convent transformed into sheltered

can climb the structure; other areas

1963) is specialized in landscape

interior design. In the last few years

cat/z

housing. The square is accessed by

are provided with concrete walls

projects and has been involved

she has collaborated in a number of

st.

ramps. The top part of the parking

covered with slate. The façade of

in several initiatives aimed at the

tourism projects to Morocco.

santju

lot is square in shape with several

the existing parking lot has been

environmental recovery of public

A.M.F.G.

w.w

pavement levels, and a pergola in the

treated as a lattice with metal

spaces, while Anna Noguera has

w



3. 5





3. 6

Ex-novo

43

This is an iconic building

and the architect Núñez Yanowsky.

included the construction of three

courtyards connected horizontally

located in San Just Desvern

The building was inspired by the

buildings but, due to economic

and vertically. In accordance with

(Barcelona) and designed by

science fiction novel "Walden Two",

reasons, only one was finally built,

the democratic and reflective

/

the multidisciplinary group

by Skinner, and was originally known

limiting the number of houses.

spirit of its design, the building is

Architecture Workshop, which

as Ciudad del Espacio (Space City).

"Walden 7" was planned as a

managed by the neighbours through

7.com

aims to unite architecture,

The project was designed to host a

city within the city, a project with

open assemblies. Anna Bofill

lden

engineering, psychology, literature

small city with flats, houses, shops

social housing including 400 flats

(Barcelona, 1944) has combined

.wa

and philosophy. The group was

and services. Half of the area in

and 1000 inhabitants, organized

her professional activity with

www

integrated by Ricardo and Anna

each structure would be devoted

in independent modules of 30

music composition and theoretical



Bofill, the poet Goytisolo, the

to social spaces, walking areas

square metres each. The result

reflections on urban planning and

politician and writer Salvador Clotas,

and gardens. The project originally

is a vertical labyrinth with seven

housing. A.M.F.G.

3. 6

pioneers

In Spain, female pioneers in architecture can be found much later than

having completed her training in the city was Mercedes Serra Barenys,

in other European countries. It is worth mentioning that women in Spain

who finished architecture in 1964. In fact, in several interviews she has

accessed higher education quite recently. The first university female

confessed that she had her hair cut like a boy so she would be unnoticed at

student in the University of Barcelona was María Elena Maseras Ribera,

the University. Other women who completed their studies in the 60s were

who graduated in medicine in 1878. The two main pioneering schools in

Roser Amadó and Anna Bofill. Since then, women account for more than

architecture providing technical training were located in Madrid (created in

50% in the total number of students registered in architecture schools,

1844) and Barcelona (founded in 1875). In both cases, only men could be

although we need to underline that their professional recognition has not

found among teaching staff and students for many years, as architecture

been the same than the one of their male colleagues. As it has been argued

and technological and construction degrees were at that time regarded as

by Zaida Muxí, the activities of the first architects in Spain were related

44

being ‘male-oriented’ activities.

to administration or teaching; later on, they started to work in studios

It was not until 1936 that the first female architect (Matilde Ucelay

led by male architects (their husbands, in many cases), and only in the

Maortúa, Polytechnic University of Madrid) graduated in Spain. That year

last decades it can be said that independent studios founded by female

architects are common. Nevertheless, it is worth mentioning that the first

she was the only woman in the Board of the Association of Architects of

women becoming a Full Professor in “Architecture Projects” in a Spanish

Madrid. As an aftermath for holding this position in the Spanish Republic,

university -Pascuala Campos de Michelena- achieved this position in 1995.

after the Civil war she would be judged and banned for life to hold any

This fact underlines that the glass ceiling has prevented women to access

public position; she was also prohibited to work as an architect for 5 years.

high positions in the field until quite recently.

The prohibition by Franco’s authorities implied that she did not receive the

title or architect until 1946 and she had to ask colleagues to sign for her

projects.

In Barcelona, the first architect in the Higher Technical School

of Architecture was Margarita Brender Rubira in 1962, who actually

recognized a degree she had already completed. The first graduate student



LISBON

LISBON

The 19th century legacy of revivalism and eclecticisms marked the

of local references, giving way to organic and regional approaches and

Portuguese architectural production until quite late, extending itself until

explorations, expressed on Álvaro Siza Vieira works, first Pritzker of

the first decades of the 20th century. However, in the late 1920s and early

Portuguese architecture (1992), an architect from the “Oporto School”, as

1930s, Lisbon saw the rising of buildings in an expression balancing between

his disciple Eduardo Souto de Moura (Pritzker Prize in 2011). Lisbon owes to

Art Deco and purism, which took as reference models in the international

Siza Vieira the wise intervention in Chiado after the huge 1988 fire, an urban vanguard of the Modern Movement.

rehabilitation project which granted to this central place of the capital, the This first cycle of modern Portuguese architecture is historically

first step to modernization.

intersected with the military hit of 1926, which led to the establishment of

As far as the participation of women in the Portuguese architecture is

the Estado Novo dictatorship, established by the 1933 Constitution. Several concerned, they found it difficult to assert themselves in the profession in

architects from the first generation of Portuguese modern architecture, were

Portugal, which was dominated by the male gender. Taking the remarkable

called to the proximity of the Power to work for these years in a strictly formal case of Maria José Marques da Silva, one of the first women graduating in

tone, applying either a modernist and international expression, as eclectic-

architecture in 1943 who left us several works in Oporto, in collaboration

46

historicist and regionalist, in great campaigns of public works.

with her husband, architect David Moreira da Silva, only in the late 1950s

With the Post-Second War and especially after the completion of the "First National Congress of Architecture" in 1948, a generation of young architects they slowly began to take a more active role, particularly in the context of

took over from there, deliberately in a more radical way, the sense of modernist professional practice associated with the colonial period.

research (such is the case of Francisco Keil do Amaral, Miguel Jacobetty

However, the turning point was marked in the 1960s, namely by Olga

Rosa, Viana de Lima or Francisco da Conceição Silva, who belonged to the

Quintanilha: with a degree from the Lisbon School of Fine Arts in 1967, she

second generation of national modernism). The assumptions of the modern

became the first head of the Portuguese Architects Order, between 1999

movement, clearly referring to Le Corbusier and Brazilian architecture, have

and 2001. In fact, after the 1974 Revolution, it was possible to witness a

been adopted in a creative way, ethical and ideologically convinced (like in

trend towards an increasing feminization of this field, associated with the

the interventions and works of the immediately following generation, of Nuno

enlargement of the university system and the opening of private courses in

Teotónio Pereira, Bartolomeu Costa Cabral or Nuno Portas).

architecture, in 1986. Nowadays women architects in Portugal are mostly

The end of the 1950s and the 1960s brought a moment of reflection

younger than male architects, and have come to assert themselves in the

and questioning of the International Style, linked to the research proccess

profession.

itinerary 1

The first itinerary starts at Praça do Comércio, commonly known as "Terreiro find, for example, the Museu do Chiado and the Teatro S. Carlos.

do Paço", a symbolic liaison space between the city and the river. This

Go through Largo das Duas Igrejas and you will find Misericórdia Street square was built in the 18th century during the Enlightenment and from the

opposite to the right. Follow this street which connects to São Pedro de

reconstruction that followed the 1755 earthquake. It is surrounded by arched

Alcântara Street , near the Igreja de São Roque, and on the right you will find the buildings and overlooked from east to west by two towers opening up from the

beautiful garden and view of São Pedro de Alcântara, built in 19th century.

Tagus River. To the north a major arch leads to Augusta Street, and in the centre Continuing along to D. Pedro V Street, you will reach the Square and garden

stands the equestrian statue of King D. José I.

of Príncipe Real, where you will also find the Ribeiro da Cunha Palace (3)

Remaining faithful to the 18th century urban planning, the area was

emodelled between 2009 and 2013. From here, you will find Escola Politécnica

subject to some change: the most recent in 2010 which enhanced its

Street, named after the ancient Polytechnic School, and today the Museu

relationship with the Tagus River creating from the pier columns a continuous Nacional de História Natural e da Ciência that integrates the Jardim Botânico da panorama which visitors may enjoy or merely relax in the area.

Universidade de Lisboa and the Politécnica Theatre (4) which also stands on 47

Anyone who crosses the river to the south bank will reach the South and

the site of the old school.

Southeast River Station (1) an Art DecÓ building constructed between 1929

At the Príncipe Real garden, go down to O Século Street – where you will

and 1931, it was classified as a Monument of Public Interest in 2012 and

find the Convento e Igreja dos Cardaes and the Palácio do Marquês de Pombal recently expanded and currently subject to rehabilitation works.

– until you reach Calçada do Combro. Climb it and to the left you will find Igreja Crossing the arch that leads to Augusta Street, we reach the orthogonal

e Convento dos Paulistas and, further on and to the right Bica de Duarte Belo frame of Baixa Pombalina, an urban setup also dating back to the 17th century Street. You are now on the edge of Bairro Alto and Bairro da Bica, two legendary reconstruction. At the entrance, you will find on your right the MUDE – Design districts that maintain their importance as residential areas and night time

and Fashion Museum (2). Further on, turning left onto Santa Justa Street, you entertainment, where you will find nightspots such as Bar Funicular (5).

can access the elevator that connects downtown to uptown Lisbon, reaching

In Bica de Duarte Belo Street you can take the lift to Bica: near the the ruins of Convento do Carmo and the Museu Arqueológico do Carmo.

building where it ends, a project of ceramic works entitled “Vai Vem” (6) was Down to the left, Chiado, the majority of which was rebuilt after the 1755

recently undertaken. Descending the elevator, you once again find yourself in earthquake and which, following the huge fire of 1988 took its first step on

the harbour river side area: go to Banhos de São Paulo, headquarters of the the road to modernisation thanks to the wise intervention of architect Álvaro Architect Order and through Largo D. Luís, where, on the left, you will find the Siza Vieira. From the romantic times of the 1800s, Chiado is claimed to be the Underdogs Art Store (7) at the Ribeira Market. M.H.S.

cosmopolitan area of the city and the centre of cultural Lisbon where you can

itinerary 1

South and Southeast River Station

1

Avenida Infante Dom Henrique, 1

MUDE – Design and Fashion Museum

2

Rua Augusta, 24

Ribeiro da Cunha Palace

3

Praça do Príncipe Real, 26

Politécnica Theatre

4

Rua da Escola Politécnica, 54

Bar Funicular

5

Rua da Bica de Duarte Belo, 44

"Vai Vem" - Site Specific Art Work

6

Rua da Bica de Duarte Belo, 4

Underdogs Art Store

7

TimeOut Mercado da Ribeira - Cais do Sodré, Avenida 24 de Julho, 49



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The building was designed

building is still awaiting conclusion.

also in the pyramid shaped top

began a project of transformation

by architect Cottinelli Telmo

The former station is made up

of the façades. The interiors are

that altered and extended the existing

(1897–1948), built between 1929

of parallelepiped volumes with

decorated with large marble plates

building and connecting it to the

and 1931, and classified as a

a covered terrace; its form takes

in contrasting colours and textures,

Lisbon Metro station. The works

Monument of Public Interest in

inspiration from Art Deco, which

metallic wire with geometric

were directed by architect Ana Costa

2012. It has recently been subject to

is clearly visible in the subsequent

designs, ashlars with polychromatic

(1960), the granddaughter of Cottinelli

extension and transformation works

scaled plans that emphasize the

tiles and tile panels.

Telmo who took over management of

by Atelier Daciano da Costa, yet the

curves of large spans and vertical

In 2003, the studio of designer

the Studio Daciano da Costa in 2005.

rehabilitation process of the existing

and horizontal directions and

Daciano da Costa (1933–2005)

M.H.S.

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51

Opened in 2009 and centrally that ended with the almost

Chamber of Lisbon, a project

ourselves in a surprising encounter

located in Baixa Pombalina,

total demolition of its interiors,

was put into effect that foresaw

with a modern, 20th century

MUDE is a museum dedicated to

which was interrupted thanks to

the temporary installation of the

ruin. Besides the visible concrete

all forms of design, with exhibition,

the importance of the existing

Museum of Design and Fashion.

structure, the project was also made

creation, meeting and debate areas.

patrimonial elements. Up until 2008,

Consequently, the architects Joana

with materials resulting from the

.pt

With the end of the colonial bank

it remained in a state of almost

Vilhena and Ricardo Carvalho

construction itself, reinforcing the

.mude

BNU following the 1974 revolution

complete abandon, with part of

(RCJV arquitectos) choose to

idea of a continuing process, of

that brought independence to the

the ornamental plasters, floors and

imagine a museum with rather

something still going on.

www

Portuguese colonies, the building

coatings destroyed. In the same

unique premises: following the idea

M.H.S.

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was included in a complex process

year, by decision of the Municipal

of recycling and reuse, we now find

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Built in 1877, the Palacete Ribeiro by four rounded domes. With three The palace passed between several with the collaboration of a team da Cunha at Príncipe Real, in the

floors separated by a frieze in stone,

owners throughout the 20th century,

of predominantly women: Carmo

corner of Calçada da Patriarcal, is

the building is divided at regular

with part of it rented to the rectory

Carvalho, Cátia Venda, Marta

a neo-Arabic building designed by

intervals by horseshoe arches.

of Universidade Nova de Lisboa,

Bandeira, Vanessa Santos Silva. The

architect Henrique Carlos Afonso

The interior is dominated by the

from 1980 to the mid-1990s.

owners are the promoters of the

as the residence of the wealthy

axes defined by the foyer and the

Today, it belongs to a bank

project which started in 2013; the

capitalist José Ribeiro da Cunha.

staircase; these, as well as the

institution and was remodelled

space includes a commercial gallery

With a rectangular top plan with three

interior patio are not only areas to be

in 2009 by the studios Falcão

with several shops, mainly selling

façades it has a sloping appearance,

used, but also represent an internal

de Campos e Appleton &

articles by Portuguese creators; there

with the four sloping roofs divided

way of distributing the space.

Domingos Arquitectos, Lda.,

is also a restaurant. M.H.S.

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Several buildings stand out in

Natural History and Science of

teaching and research in the Escola

architects Patrícia Barbas and Diogo

Rua da Escola Politécnica,

Lisbon University, which includes

Politécnica.

Lopes. Besides the main room - with

including the one which lent its

a number of spaces inherited from

At the entrance of this scientific

its large iron structured windows

pt

name to the street: the former Escola

the Escola Politécnica and the

garden is the Polytechnical Theatre, a

with a view over the plants of the

os.

Politécnica, the Polytechnic School,

only surviving building from the

space that for a long time was used as

Jardim Botânico - the adjoining

sunid

build as educational architecture

ancient Real Picadeiro do Colégio

canteen for the Faculdade de Ciências

room of the same size functions as

in Pombalina and Neoclassic style,

dos Nobres (1761), the Royal Riding

(the Science Faculty) but which once,

a multi-purpose hall for exhibitions,

artista

and later transformed into the

School - and the Jardim Botânico,

in 1907, also housed a theatre.

lectures, courses and experimental

w.w

Museu Nacional de História Natural

the Botanical Garden, designed

In October 2011, the theatre company

shows.

w

e da Ciência da Universidade de

in the mid 19th century as a

“Artistas Unidos”, reopened the doors

M.H.S.

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Lisboa, the National Museum of

modern accompaniment to botanic

following a project of renovation by

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On the edge of Bairro Alto and located in the ground floor of a

Bairro da Bica - historical districts

building that was entirely restored

that maintain their importance as

by Cortesão between 2006 and

residential areas and night spots

2015, in collaboration with studio

with a number of pubs - you can find

BICA Arquitectos, founded by Inês

the Funicular bar and pub in Bica de

Cortesão in 2006 and including the

Duarte Belo.

collaboration of architects Marco dos

The pub was remodelled following

Santos and Margarida Brito Alves and

the 2006 plans by architect and

architects and designers Célia Faria

designer Inês Cortesão. It is

and Maria Rebelo Pinto. M.H.S.

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As part of the project of urban Within the tradition of Portuguese to the colours of Lisbon’s coats of requalification of the area next

contemporary tile art whose major

arms, bringing together the sign and

i-vem

to the Bica lift directed by architect

references come from the public art

the arrow, the tiles take on a function

/va

Teresa Nunes da Ponte, the ceramic

work of Maria Keil and Eduardo Nery,

of indication that, thanks to their

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intervention with tile panels entitled

here we can find inspiration from

changeable characteristics, allude to

“Vai Vem” covers two small walls

Op Art or Kinetic Art that enhances

-ran

the digital signs of today.

next to the lift building, created by

the continuous “Vai Vem” (lit. “Come

M.H.S.

can

architects Catarina and Rita Almada

and Go”) movement of the lift. In a



Negreiros.

play of black and white that alludes

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Underdogs, a cultural platform The work developed by the project (all Ribeira, Lisbon’s main market.

contains the works of over 30 artists

dedicated to promoting the

exhibitions, public art programmes,

A storefront for the work that has

from all over the world, curated by

production and distribution of

collaborations and exhibitions) has

been developed by the project so far,

the acclaimed Portuguese artist

urban-inspired contemporary art,

not only reshaped the city landscape,

Underdogs Art Store was designed

Alexandre Farto, also known as Vhils,

was founded in Lisbon in 2010, and

but it has also made art accessible to

by Studio Pedrita (designers Rita

and by Pauline Foessel. The store

have maintained their current work

a wider audience and a wider space,

João and Pedro Ferreira) and is

opened on 4 December 2014 on the

t

model - interacting and collaborating

transforming the whole city into a

devoted to showcasing and selling

ground floor of the market, but was

.ne

with urban-inspired creators through

gallery. Being part of a continually

limited-edition screen prints, created

relocated to the first floor on 24 June

-dogs

regular exhibitions in the gallery, public developing process, Underdogs

by artists with which the project has

2015, on the occasion of their new

art programmes and by producing

opened an art store in the heart of

already collaborated.

visual identity launch.

.under

original artist editions - since 2013.

the city, in the legendary Mercado da

A simple yet strong metallic structure

M.A.S.

www



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itinerary 2

The itinerary starts at Santos, an area that was historically linked to the Carry on along Calçada da Estrela until you come to the Romantic Estrela

Portuguese Discoveries. It also has a centuries-old connection with industry: garden, inaugurated in 1852 and the first 'à l’anglaise' garden in Lisbon. After first with shipbuilding and its associated trades and then during the 19th

recharging your batteries with a quiet stroll, go left to where the English

century with the Industrial Revolution. Its industrial character produced great cemetery connects Estrela to Saraiva de Carvalho Street. You’ll find the Lisbon demographic mobility and, consequently, a population in which the working

School of Tourism - Machado De Castro School (3), a former industrial school

classes have always mixed with the aristocratic and bourgeois elites. At the

regenerated and enlarged by Teresa Nunes da Ponte’s design.

time of the Discoveries, the inhabitants were basically located in two areas - the Why not now return to the entrance of the Estrela garden to have a leisurely

traditional Madragoa neighbourhood, known as Mocambo, and the area marking look at two emblems of late 18th century Lisbon architecture: the Estrela Basilica the southern limit of the large quarter going down from S. Roque to the riverside and Convent? Afterwards, stroll downhill along the Avenida Infante Santo towards area of Santos-o-Velho de S. Paulo and Boa Vista.

the Tagus River, passing the traditional “O Mar” (4) tile panel by Maria Keil.

The itinerary highlights the 19th century transformations. Beginning at the

You are now heading for Belém, an area inextricably linked to the Discoveries.

57

Largo Vitorino Damásio (named after the engineer José Vitorino Damásio), you

Here lies the harbour where the Portuguese fleets set sail from and returned

can enjoy a drink at the Left Bar (1), designed by Ricardo Carvalho and Joana to in the 15th and 16th centuries. It was during the early 1500s that the most Vilhena. This square is the result of land filling works on what is now known emblematic examples of Portuguese art of the time were built: the Jeronimos

as Aterro de Santos or da Boavista, where silting and earthmoving operations

Monastery and, on the riverbank, the Torre de Belém, built by Manuel I, the king were concluded in 1867, leading to urbanisation marked by the opening of the

who gave his name to the late-Gothic Portuguese style, Manuelino. Since 1983, D. Carlos I Avenue, in 1889.

this group of monuments has been listed as a World Heritage Site by UNESCO.

At the beginning of this avenue you will find the IADE building, designed by

The grandeur of the Belém riverside was further enhanced in the 20th

Tomás Taveira, a renowned Portuguese Postmodern architect. Going up, the

century by the Padrão dos Descobrimentos which was created for the

Esperança fountain is on the left (designed by Carlos Mardel in 1752), after

Portuguese Fair in 1940 and, in the 1990s, by the Centro Cultural de Belém which you reach the fire station, designed by José Luís Monteiro (1848–1942), (opened in 1992). The early 21st century saw work begin on the new home of

who adapted the ruins of the Esperança Convent specifically for this purpose.

the National Coach Museum (5), opened in 2015.

The Building D. Carlos I Avenue (2) is opposite. Multifunctional in design,

If you need to rest and relax, both the hotel Altis Belém Hotel & Spa (6) the original project dates back to 1960, reflecting the characteristics of the (opened in 2009), and the restaurant, Espaço Espelho d'Água (7) enjoy great

Modern Movement. At the top, to the right, is the former convent of São Bento riverside locations. Initially built for the Portuguese Fair in 1940, Espelho d'Água da Saúde which, following the triumph of Liberalism and the abolition of the

was recently restored and reopened. M.H.S.

religious orders (1834), was converted into the Portuguese Parliament.

itinerary 2

Left Bar

1

Largo Vitorino Damásio, 3F

Building Dom Carlos I Avenue

2

Avenida Dom Carlos I, 126

Machado De Castro School

3

Rua Saraiva de Carvalho, 41

"O Mar" - Site Specific Art Work

4

58

Avenida Infante Santo, 70J

National Coach Museum

5

Avenida da Índia 136

Altis Belém Hotel & Spa

6

Doca do Bom Sucesso

Espaço Espelho d’Água

7

Avenida Brasília, 210



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Ricardo Carvalho and Joana

The space was designed to reduce

r/

Vilhena’s intervention in 2005 on

the excess of elements and material.

the old 20th century warehouse in

All furnishings - such as the

eftba

Largo Vitorino Damásio led to the Left

balcony - were set up along the bar,

com/L

Bar as we see it today.

highlighting the connection between

ok.

The project used the unusual

the exterior and the interior. Thanks

dimensions to its advantage, making

to the size of the premises, the bar is

acebo

the most of the narrow width and

dark and artificial light is constantly

w.fw

great length to create a relationship

needed, confirming once again the

between the interior and exterior

permanent transition between day

s://w

environments.

and night. M.H.S.

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da Costa (1960), Jorge Costa Maia

the seventh floor, and you may still

sunlight, and flat terraced roofs also

This building on Dom Carlos I

Avenue, in Santos, has undergone

(1968) and Maria João Eloy (1998).

find a nursery on the last two floors.

highlight these architectural lines.

a number of interventions since its

The building was built to fulfil a

The design features modern

The interior, on the other hand, was

original construction, all of which

variety of functions simultaneously;

construction architectural lines,

designed as an open-space area with

have remained faithful to the initial

there are garages on the lower

typical of the time. For this reason,

just a few columns that break the

architectural lines - a principle

ground floor, several offices that fill

the façade has large straight

space up on each floor.

respected by João Guilherme Faria

the building from the ground floor to

windows to make the most of the

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Saraiva de Carvalho street is

which is lit by large windows along

Lisbon School of Hospitality and

The outer traces of the former Indus-

ol/031

located in the Campo de Ourique

its length, and the floors that are

Tourism. In 2009, its restoration

trial School have been preserved and

cho

neighbourhood, an urban structure

connected by a ladder to the centre

and rehabilitation were completed

the interior was adapted to the teach-

n/s

designed in 1879–80 by engineer

which is again lit by natural light.

thanks to a project developed by the

ing requirements of the hotel sector.

r.pt/e

Frederico Ressano Garcia (1847–1911).

In 1975, the former Industrial School

studio of Teresa Nunes da Ponte,

The high ceilings allowed mezzanines

In the latter years of the First Republic

was converted into Machado de

an architect mainly dedicated to

in several areas. The auditorium

scola

(1910–26), Machado de Castro

Castro secondary school which

the restoration and rehabilitation

marks the spot where the old palace

Industrial School was built by architect

closed in 2005, leaving the building

of building heritage whose work

belonging to the Counts of Paraty was

Vitor Bastos Junior. This building is

to gradual ruin. It was eventually

spans from the master plan scale to

expanded, and is now home to a fully-

parque-ew.

distinguished by its central corridor

and fortuitously recovered by the

completed objects.

equipped 'practice' hotel. M.H.S.

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Her extensive and multifaceted and magazines, posters and

of geometric patterns, with

Art influence lent a particular

work clearly demonstrates how

advertisements, stamps), sets and

triangular motives overlapping to

modernity to her work, paving

Maria Keil (1914–2012) always

costumes (stage design), furniture

infinity in a dynamic visual web-like

the way for what would become

sought to reject the system of

and interior design, cards for

composition. This prismatic game

a central core of her ceramic

“major” and “minor” arts, crossing

tapestry and tile compositions.

is especially clear in the famous tile

work: the walls of the Lisbon

languages, forms and techniques,

Her happy encounter with tile work

panel “O Mar” (1956–58), located

underground stations - a constant

in a polygraph spanning a variety

in 1954 gave her the opportunity

on one of the walls of Infante Santo

presence in Lisbon daily life.

of artistic worlds: painting, graphic

to develop an experimental kind of

Avenue’s residential complex.

M.H.S.

design (illustration, book covers

research denoted by combinations

The striking vibrations of clear Op

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The new National Coach Museum of view: 'museology' as the basic The project included the Marítima de Belém, thus seeking

.pt

in Lisbon opened in 2015 and is

criteria for exhibiting remarkable

construction of a large exhibition

to create a new interior dynamic,

hes

located between Junqueira Street

heritage and 'urbanism' understood

hall, an annex building for

uniting what is on the inside with the

and Índia Avenue, quite close to the

as the building of a monumental

administrative offices, auditorium

outside: a concept that will surely

old Museum. It is the new National

venue. This project was supported

and restaurant, plus a pedestrian

increase thanks to this new vitality.

.museudoscoc

Coach Museum from two basic

by the State’s "Belém Rediscovered”

walkway with ramps linking

M.H.S.

physical and metaphorical points

project.

Junqueira Street and Gare

www

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m

Altis Belém Hotel & Spa, a design river in such a way as to best take

hotel near the Tagus river,

advantage of the views over the city

represents a contemporary take on

and the estuary. The Hotel also has

Portuguese expansion overseas.

a rectangular platform, occupied by

Its design takes into account the

the restaurant, designed to increase

axis between the Belém Tower and

the privacy of its guests.

com/EN/HotelAltisBele

the Padrão dos Descobrimentos

This Hotel was awarded first prize

(the Monument to Discoveries),

for Portugal’s Leading Design Hotel

without blocking the connection

2015 in the World Luxury Hotel

altishotels.w.

between the two.

Awards.

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The main structure of the two

R.B.

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-floor building lies upright to the

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E spaço Espelho d´Água is the

Pavilion of Nautical Amusement

created the vertical garden, while the

cinema, video, among other subjects.

latest name given to a building

(1940), the Naval Brigade club -

entrance was designed by Yonamine

Located next to the Monument of

constructed over the Tagus River

museum, a restaurant (Espelho

and Sol Lewitt created a mural in the

Discoveries, the area includes a

.com

over sixty years ago. Initially designed

d’Água) and club (T-Club). Finally,

restaurant area) in a collaborative

restaurant, cafeteria, promenade and

by architect António Lino as part of

in 2012, the space was refurbished

rehabilitation project: Portuguese

art gallery / concert venue, creating an

the “Portuguese Fair” which took

thanks to a Lisbon Tourism

expansion overseas. Intended as

environment which - according to the

lhodeagua

place in 1940, it was redesigned and

Association public contest, gathering

a platform for cultural exchange

owner, Mário Almeida - aspires to be

extended three years later by architect

a team of architects (Duarte Caldas

and inspiration, the Espaço Espelho

both artistic and cultural: a reflection

and filmmaker José ngelo Cottinelli

de Almeida), designers (Rita João and

d’Água provides a wide range of

of the relationship between the

.espacoespe

Telmo.

Pedro Ferreira – Studio Pedrita) and

cultural activities and events, related

Portuguese people and the world.

The building has been used as a

artists (Michael Hellgreen, CGD who

to art, design, music, gastronomy,

M.H.S.

www

2. 7

itinerary 3

The itinerary starts at the Castil Building (1), which runs alongside

the project for the headquarters and museum building includes a remarkable

Braamcamp Street and Castilho Street, in the Barata Salgueiro

collection left by Calouste Gulbenkian, and was designed by a team of

neighbourhood. The urbanisation project of this neighbourhood started in the

Portuguese modern architects.

last decade and a half of the 19th century, following the city’s expansion of By leaving Gulbenkian and crossing Espanha Square onto Columbano Bordalo

Liberdade Avenue - the main road that opened in 1885 which lends Lisbon a

Pinheiro Avenue, you leave the so-called "Avenidas Novas" (New

modern boulevard look, evoking Baron Haussmann’s Paris.

Avenues) which were created out of the progressive urbanisation development

In the early 1970s, several buildings were built for the tertiary sector,

dating from the end of the ninetieth century that we mentioned earlier and in resulting from Portugal’s touristic and economic development, and almost

which Berna Avenue plays a final role.

simultaneously the Franjinhas (Braamcamp Street, 1969–71) and Castil

Columbano Bordalo Pinheiro, on the other hand, connected Berna Avenue

buildings were erected, designed by architect Nuno Teotónio Pereira (in

with Campolide Road, in 1929. Where José Malhoa Avenue meets Campolide

collaboration with architect Nuno Portas) and by architect Francisco Conceição Street stands the Twin Towers Complex (4), the emblematic work of architect

67

da Silva (in collaboration with architects Tomás Taveira and Maria João Eloy) Olga Quintanilha (1942–2005), first president of the Portuguese Architects

respectively. Both buildings represent new relationships between public and

Order.

commercial spaces, making up one of the most well-made set of buildings

Completing the itinerary, we recommend you visit a work in which the

which then occupied the area around the Marques de Pombal Square.

past meets the present: Thalia Theatre (5), on Laranjeiras Road, near the Zoo.

Continue up Castilho Street to Joaquim António de Aguiar Street, where

Commissioned by the 1st Count of Farrobo, in 1820, next to his Laranjeiras

you will find the side wall of the Ritz Hotel (2) façade; the main entrance is palace, whose luxurious good taste was famous in Romantic Lisbon. In

a little further on, in Rodrigo da Fonseca Street. A set of two separate but

1862, devastated by fire and abandoned, it seemed condemned to eternal

interconnected buildings (built at different times) the initial project, created ruin: a situation worsened in 1978, when the theatre’s roof and annexes were

by Porfírio Pardal Monteiro (1956–64), contemplated the hotel area of the

demolished. Belonging to the Ministry of Education and Science, in 2010 the

building. A modernist work decorated by various Portuguese artists who helped architectural rehabilitation project signed by Gonçalo Byrne, Diogo Lopes and turn the interior into an important collection of contemporary Portuguese art.

Patricia Barbas, was finally started, and completed in 2012. The intervention The subject of contemporaneity in Lisbon leads us to one of the most

aimed to maintain the volumes of the traditional scenic spaces, while the

important collections of buildings in the capital, located on Berna Avenue:

new volume is a light and transparent sustaining pavilion which reflects the Amphitheatre of the Calouste Gulbenkian Foundation (3), surrounded by a

construction of playgrounds and leisure spaces that existed in the old Conde de verdant garden, home of Centro de Arte Moderna, to the south. Opened in 1969, Farrobo Quinta das Laranjeiras. M.H.S.



itinerary 3

5

68

3

4



1

Castil Building

Rua Castilho, 39

Ritz Hotel

2

Rua Rodrigo da Fonseca, 88

Amphitheater of the Calouste

3

Gulbenkian Foundation

Avenida de Berna, 45a

2

69

Twin Tower Complex -

4

Malhoa Residential Complex

Avenida José Malhoa

1

5

Thalia Theatre

Estrada das Laranjeiras, 211

3





3. 1

Ex-novo

70

Located on the elegant and executive architects Tomás Taveira and Maria demonstrated by the internal square It is no coincidence that this was also Castilho Street, the Castil Building

João Eloy and opened in 1973. A

that leads to the shops. The end

the first shopping centre in Portugal

was Lisbon’s first shopping centre. A

consequence of the social and

result reflects the influence of

to have a parking control system, with

pioneering example of architecture

economic situation of 1970s Portugal

British architect James Stirling on

tickets to get in and out of the car

in Portugal, thanks to the audacious

- the country’s economic and tourist

Conceição Silva’s work: clear here

park through the bar. Nevertheless,

combination of aluminium structures

growth and the increasing housing

in a programme uniting offices

far from being considered merely as

and glass on its façade, as well as

needs in the urban centre - the Castil

with shopping mall both of which

a commercial and business area, the

its verticality; the building (1970–72)

Building also embodies a newfound

required a cosmopolitan language

building was awarded the status of

was designed by Atelier Francisco

interest in the relationship between

to satisfy the demands of the real

Monument of Public Interest in 2011.

da Conceição da Silva, along with

public and commercial spaces,

estate market.

M.H.S.

3. 1





3. 2 n

and esig

r drioEx-novointe

The Ritz Hotel was created from

an idea by Casimiro Antunes

Paulo and the desire of a consortium

of capitalists (among them the

Espírito Santo and Queiroz Pereira

71

families) to have somewhere dignified

to welcome the rising number of

high-class tourists that were more

frequently starting to arrive in Lisbon

after the Second World War.

sumptuously furnished with Espírito

O Século newspaper, also earning it

Negreiros, Lino António, among

Being the first grand luxury hotel in

Santo Foundation furniture, Austrian

a cover on Life magazine three years

others. The initial project underwent

the Portuguese capital, it became

crystal chandeliers, and tapestries

later.

a general rehabilitation in 1990 and

the portrait of a noble, modern

from Belgium and the Portalegre

Considered by some as a museum,

has been adapted over the years,

comn.

and elegant Lisbon. The bold and

textile factory.

the Ritz Hotel is lavishly decorated

remaining today a mark of modernity

complex design was the work of

The hotel was opened on 24

with works from famous Portuguese

and grandiosity of the city, located

ritzlisbo

Porfírio Pardal Monteiro (1952), with

November 1959 with an exuberant

artists, such as interior designer

next to the Eduardo VII garden.

w.w

15 floors, 290 rooms, 14 conference

banquet and party, described as

and painter Estrela Faria (1958–59),

M.H.S.

w

rooms, 2 restaurants and bar, all

“Opulent grandeur, Hotel Ritz” by the

and painters Sara Afonso, Almada



3. 2





3. 3

tion

enovaR

72

Founded in 1956, on request of Moderna - CAM), the Arts Library and Events such as Jazz em Agosto hold and shelter all the necessary

Calouste Sarkis Gulbenkian in

the Calouste Gulbenkian Museum.

(Jazz in August), among others, are

equipment, such as lighting and

his will, the Calouste Gulbenkian

The garden, designed in the 1960s

held outside in the garden in the

sound machinery.

Foundation is dedicated to fostering

by António Viana Barreto and

outdoor amphitheatre.

Thanks to its covering, the

and promoting knowledge and

Gonçalo Ribeiro Telles, is not merely

Given the wide variety of events that

amphitheatre can host outdoor

pt

improving life through the arts,

a quiet place for escaping from the

take place at the amphitheatre and

shows, concerts and performances,

n.

science and education.

hustle and bustle of daily life, but

the bold cultural programme offered

in an intimate and whimsical

nkia

One of the city’s most remarkable

also a reference for the modern

by the Foundation, it soon became

environment provided by the

gulbe

cultural spaces, it is home to the

movement in Portuguese landscape

imperative to create a flexible yet

lighting and its effect on the natural

w.w

Modern Art Centre ( Centro de Arte

architecture.

resistant structure, which could

surroundings. M.H.S.

w



3. 3



3. 4

Ex-novo

Where José Malhoa Avenue

a residential space with shopping

meets Campolide Street stands

centre, comprising two towers

the complex known as "Condomímio

with 28 floors each, constituting

Twin Towers", an emblematic

a housing model intended for the

work designed by architect Olga

upper middle class.

Quintanilha (1942–2005), whose

Olga Quintanilha considered

work was crucial to her rise to public

this peripheral area of Lisbon as

association status of the Order

cosmopolitan, contributing to the

73

of Portuguese Architects in 1998,

characterization of a public space

becoming its first president - a

that was previously a non-place - a

position she held from 1999 to 2001.

fragmented crossing point with

Approved by the Municipal Council

plenty of mobility obstacles - and

of Lisbon in 1998 amid much

thus overcoming the features of

controversy - its 90 meters high

the commercial buildings of José

much exceeded the limit of 25

Malhoa Avenue.

meters set by the Municipal Plan

M. H. S.

- this complex opened in 1999 as

3. 4





3. 5

tion

enovaR

74

The Theatre Thalia is located on the Teatro Nacional Dona Maria

project, signed by Gonçalo Byrne,

an imposing body which merited

o-thalia

Laranjeiras Road next to Lisbon

II, in Rossio. In 1862, devastated

Diogo Lopes and Patricia Barbas,

preservation and protection in

atr

Zoo. It was commissioned in 1820

by fire and abandoned, it seemed

finally began and was completed

its entirety. By contrast, the new

a/te

by Joaquim Pedro Quintela 1st

condemned to eternal ruin, a

in 2012. The intervention aimed

area is a sustaining pavilion, light

agin

Count of Farrobo (1801–69) near

situation worsened in 1978 when

to maintain the volumes of the

and transparent, reflecting the

pt/p

his Laranjeiras palace. In 1842,

the theatre’s roof coverage and

traditional scenic spaces - the

construction of playgrounds and

ec.m

the Count decided to rebuild and

annexes were demolished.

Foyer, Stalls and Scene - clearly

leisure spaces that existed in the

renovate the theatre, commissioning

Owned by the Ministry of

expressing the relationship

old Conde de Farrobo Quinta das

eral.

the job to Italian architect Fortunato

Education and Science, in 2010

between old and new, and lending

Laranjeiras.

sec-g

Lodi, who was also responsible for

the architectural rehabilitation

the ruin an autonomous entity as

M.H.S.

w.w

w



3. 5



pioneer

Maria Keil studied painting at the Escola and - with special relevance to the composition of tiles.

de Belas-Artes de Lisboa (School of Fine

She is portrayed in the history of post-war Portuguese tile work as one

Arts of Lisbon). She bequeathed a vast and

of the key characters in the reinvention of wall tiles. She is one of a group multifaceted work which, while it started

of artists who, through a variety of paths, reached the position of carrying

with painting, quickly took on other art forms,

out tile work on public art commissions.

highlighting her pioneering role in graphic

Contents, forms, colours, motifs all highlight her intention to depart

design and advertising, but also illustration,

from the folk themes - be they nationalistic or historical - which some

furniture, scenography and costume

artists created (with varying degrees of quality) due to dictatorship

design, tapestry and more particularly tile

demands. If it is true that a figurative design persists, her fortuitous

75

design, and she left Lisbon several urban

encounter with tile work from 1954 allowed her to develop an experimental

interventions that are a contemporary

type of research denoted by geometric pattern combinations, with

heritage of the capital’s tile legacy.

triangular motives overlapping in an infinite and dynamic visual web-like

Maria Keil

She was part of the ETP - Estúdio

composition.

Técnico de Publicidade (Technical Studio

This prismatic game is especially clear in her famous panel of tiles,

of Advertising, under the direction of the

“O Mar” (1956–58), found on a wall in one of the Infante Santo Avenue’s

designer José Rocha). Here, Maria Keil was the first woman to participate

residential complexes; suggestive vibrations of clear Op Art influence which

in pioneering graphic design works for Portuguese advertising, which are

lent a particular modernity to her work, paving the way for what would

embodied from 1942 in a number of almost humorous ads for the women’s

become a central theme of her ceramic work: the Lisbon underground,

lingerie manufacturers Pompadour, renowned for their subtle irony.

designed by her husband Francisco Keil do Amaral (1910–75).

Maria Keil constantly tried to reject the passé arts system, anticipating

Despite the recurring themes, the motives all have unique features

what today is designated as a dissolution of genres, crossing languages,

and their own identities, varying in each underground station, showing

forms and techniques in a polygraphy that overcomes the multiple artistic

the maturity of the artist’s sensitivity. The prisms in the Campo Pequeno

worlds which she developed, both in graphic design (illustration, editorial

Station lack the density of those in the “O Mar” panel. Reduced to acting

design, posters and commercials, stamps) and furniture and interior design

as a frame, they are transparent and only occasionally filled in to give them





sphere styling and Islamic-inspired motifs. The potential of this process

is given further relevance with the opening of the Intendente underground

Station in 1966, which is rightly considered the artist’s most accomplished

work within the Lisbon underground context.

In the stations that opened in 1972, it is clear that the artist had

embarked on a new path. A return to research into optical effects which,

despite being rather close to the wall coverings designed so far, now takes

on a greater role. The dimly 'Vasarelian' effects of the Alameda Station

have greater visual dynamism than the meshes which fill the Areeiro

Station. However, it is the initial project for the Alvalade Station that fully expresses Op Art, being Maria Keil’s work that most effectively expresses

the movement. Changed upon request by the client - who was afraid that

Maria Keil, Azulejo wall, PraÇa de Espanha's Metro station, Lisbon

the optical illusion could have adverse effects on users of the space - here

(as already sensed in Areeiro) we see a new path, the withdrawal of the tile

grid to which the artist had subjected much of her work so far. The curved

76

some body. The overall effect is therefore lighter, dematerialising the wall

lines and filaments print an absolute dynamism, escaping the more inert

and giving the illusion of more space to the user.

geometry in a way in which the edges prevent greater freedom.

The Restauradores Station (the covering of which was partially

Her work was also a means of educational and civic intervention,

removed) is the most original of this first cycle of wall coverings for the

simultaneously playful and artistic, capable of projecting images onto the

Lisbon underground system: a combination of traditional Portuguese tiles

very visual memory of

in contrast with the modern language.

Lisbon and all those who

In 1963, in the Rossio Station the artist returns to using methods for

visit the city.

wall tiles which date back to the early 16th century, when the tiles used

in the Portuguese public sector came from Sevillian potteries and the dry

rope technique was widely used. This process prevented colours from

running in the composition. Maria Keil reinterprets it, giving it prominence

and creating an intricate mesh of diverse elements, but in which one can

Maria Keil, Azulejo wall,

sometimes contemplate some historical grammar, through the armillary

Parque Metro station, Lisbon



PARIS

PARIS

In 2008, the Pavillon de l’Arsenal published the Guide d’architecture elsewhere too, and not exclusively in guides on Parisian architecture.

1900_2008 by Éric Lapierre. In the preface the author, an architect by Karen Kingsley pointed out, ironically, that of all the books on the history

training, listed the criteria on which he had selected the buildings in his

of architecture, Modern Architecture: A Critical History (first edition in book: spatial, temporal, historical significance and artistic quality. He

1980) by Kenneth Frampton was the one that included the most women

also wrote that he had not wanted to choose only buildings that were

professionals. The historian cited four female architects: Gertrude Jekyll,

important by virtue of their location, their function or their budget, but

Charlotte Perriand, Margaret MacDonald Mackintosh and Lilly Reich

also those more modest or discreet buildings. The guidebook recorded

(Kingsley 1991; Kuhlmann 2013, 14).

1024 buildings in all twenty arrondissements of Paris, designed by a

What should be emphasized is that the profession of architecture

thousand architects or architectural agencies. The index of names in

was closed to women for a long time. There was the fine yet distant

the appendix clearly reflects the proportion of women architects in the

example of Sabine von Steinback, who succeeded her father as head of

construction of buildings deemed worthy of inclusion in a 20th century

the Strasbourg cathedral building project, but that prestigious precedent

architectural guide of Paris: four percent. This figure furthermore needs

had no posterity. It is, for instance, noteworthy that the Rome Prize for

78

to be considered in relation to the number of buildings actually built by

Architecture was never awarded to a woman, right up to its final edition in

women architects. While some men architects each have their name

1968, whereas in the early 20th century the highest academic distinctions

next to over twenty buildings considered to be significant (Jean Prouvé,

were bestowed on women sculptors - Lucienne Heuvelmanns in 1911 -

Auguste Perret, Henri Sauvage among others), we rarely see their female

and painters - Odette-Marie Pauvert in 1925. Notwithstanding the fact

colleagues mentioned more than twice; usually only once.

that women were enrolled at the École des Beaux-Arts in 1893; in 1902

Le Guide de l’architecture moderne à Paris by Hervé Martin, published Julia Morgan, born in San Francisco in 1872, was the first woman to

by Alternatives in 1996, with a revised edition in 2001, proposes a

graduate in architecture in France (Clausen 2010, 153–161). In the latter

selection of three hundred buildings considered important in Parisian

half of the 20th century Paris was the site of what journalists termed

architecture from the late 19th century to the present. The author

the Grand Travaux (Great Works) but, also in this very busy period, little selected no more than four examples produced by women architects,

attention has been paid to the work of women architects.

one of which is distantly related to architecture (the Bercy Park), and only

Ultimately, women’s involvement in the transformation of Parisian

one was awarded to a woman working without male collaborators. Such

architecture dates back only to the second half of the 20th century or

a limited number of examples of buildings by women is of course found

even, to be precise, to the last quarter. Prior to that there is little worth

mentioning, apart from a private mansion built at 33 Avenue Gambetta Bourget housing estate, rehabilitated in 2012) and offices (Avenue

in 1903, by Louise Brachet, an architect about whom very little is known.

Montaigne, Rue de Vaugirard, and Rue Alfred Roll, among others).

The presence of women architects in the following decades appeared

From the 1980s, women started to appear more regularly in building

only insofar as they were associated with their husbands. In 1939 Juliette

programmes in Paris, first associated with men architects who generally

Mathé and her husband Gaston Tréant built a charming residential

signed the work (group of residences in the Rue Baudricourt, and at

building with cylindrical bow windows at 109 Rue des Entrepreneurs,

Rue de Hautes-Formes, 1979, signed by Christian de Portzamparc with

as well as residential buildings at Bon Marché, Rue Saint-Denis and

Georgia Benamo), and finally autonomously - although still as a small

Rue de Metz. Likewise, in the 1950s and 1960s, in collaboration with

minority.

her husband, Renée Bodecher built a series of blocks of flats (the Paul

79

itinerary 1

Various strata shaped the historic heart of Paris and gave it a

works, all displayed in the same museum: Tripodal Vase (2) by Suzanne

complexity that is reflected in its architecture and in its urban

Ramié, Sun Chair (3) by Janine Abraham and Dirk Jan Rol, “Le Roi” and

organisation. The ancient Lutetia was founded on the Île de la Cité,

“La Reine” (4) by Janine Janet, “Prince l'Impérial” Chair (5) by Elisabeth

at the heart of the current city (or, according to recent archaeological

Garouste and Matia Bonetti.

excavations, near Nanterre). The nation’s political power was concentrated Our sixth work is only a 14 minute walk away. Head to the Solferino

in a narrow space, which today houses the symbols of power: the Palais de Bridge and cross the Seine River, after going through the Jardin des

l’Elysée and the Palais de Matignon, the ministries, the National Assembly Tuileries. We arrive at the D'Orsay Museum (6), a world-renowned former and the Upper House. The respectable character of the architecture of

railway station built in 1900 and reconverted to a 19th century museum

this historical area, even though profoundly modified under the Second

in 1986. The interiors of the new Parisian museum were entrusted to Gae

Empire, offers only a few possibilities of intervention to the contemporary

Aulenti.

architecture. The National Museum of Modern Art, on the plateau of

Our next stop in our city centre visit not far from the Musée d’Orsay, is Beaubourg, is one of the rare examples of the inscription of a modern

in the Quartier Latin. This is the main university district in which - despite building within a historic district. Thus, traces of architectural modernity

the invasion of fast food restaurants and fashion shops - the romantic

have to be searched for inside the buildings, as decorations and layout, or

spirit of medieval Paris still pervades. The city is famous for the number

80

in the numerous museums, which occupy former palaces.

and quality of its cinemas, and in the Quartier Latin are some cinemas The "Phantom" - L'Opéra Garnier Restaurant (1), which is the first stop devoted to showing art films, such as the Nouvel Odéon Cinema (7), which

of our visit, is an appropriate example of this design redevelopment within

was restructured in 2010 by Matali Crasset.

prestigious architecture. Located in the Palais Garnier, a major symbol of Our visit to the centre of Paris ends on the other side of the Seine.

the neo-Baroque architectural eclecticism of the Second Empire built by

From the cinema, head back to the river and walk through the Île de la Cité the academic architect Charles Garnier, the decoration of this restaurant

towards the Les Halles neighbourhood near the grand boulevards. In 2003, was conceived by Odile Decq.

the City of Paris launched a competition for the transformation of the

By following the Avenue de l’Opéra towards the Seine River, we arrive

former Gaîté Lyrique Theatre (8), which had been built under the Second

at the Musée des Arts Décoratifs, which occupies a wing of the Palais

Empire but had not been used or maintained since 1967. The idea was

du Louvre (entrance 107, Rue de Rivoli). The museum, established in

to create a cultural centre for present-day music and contemporary arts.

1905, preserves an important collection of contemporary design in the

Manuelle Gautrand, who won the competition, set herself two objectives in

upper levels, including some interesting works by women designers. The

transforming the building: to create a place to welcome all artistic forms

following are the next four stops which highlight four important design

and also a place for both artists and the public. A.B.





11

1

"Phantom" - L'Opéra Garnier Restaurant

1

Palais Garnier, Place Jacques Rouché, 1

Tripodal Vase - Musée des Arts

2

Décoratifs - Rue de Rivoli, 107

88

Sun Chair - Musée des Arts Décoratifs

3

Rue de Rivoli, 107

2*

2-5

81

"Le Roi" and "La Reine" - Musée des

4

Arts Décoratifs - Rue de Rivoli, 107

6 6

"Prince l'Impérial" Chair - Musée des

5

Arts Décoratifs - Rue de Rivoli, 107

D'Orsay Museum

6

Rue de la Légion d‘Honneur, 1

Nouvel Odéon Cinema

7

Rue de l’Ecole de Médecine, 6

Gaîté Lyrique Theatre

8

Rue Papin, 3bis

7

7

1

Sources: Esri, HERE, DeLorme, TomTom, Intermap, increment P Corp.,

GEBCO, USGS, FAO, NPS, NRCAN, GeoBase, IGN, Kadaster NL,

Ordnance Survey, Esri Japan, METI, Esri China (Hong Kong), swisstopo,

MapmyIndia, © OpenStreetMap contributors, and the GIS User

Community





1. 1 n

esig

, reuse r d

tion rio

enovaR and inte

82

Harmoniously integrated into the profusion and classical undertones Garnier, where she designed a the poles. It was while observing the

historical building, the "Phantom"

of Garnier’s eclectic architecture.

reversible interior that modified

shape of the façade that I had the idea

- L’Opéra Restaurant, opened in

Odile Decq founded the agency Odile

neither the structure nor the décor

of this protean mezzanine with gentle

2011, consists of a mezzanine that

Decq - Benoit Cornette - ODBC in

of Garnier’s architecture in order to

curves, threading its way throughout

has been carefully designed so

1980, which was awarded the Leone

meet the criteria of the Monuments

the inside of the building without

t.fr

as to avoid leaning on the existing

d'oro at the Venice Architecture

Historiques: "we had to shift. And

actually touching it. When I presented

architectural elements: the walls,

Biennial in 1994, and the Benedictus

since they wanted transparency,

the project to Addy Bakhtiar [the

tauran

columns and roof. The stylistic

in 1999 from the International

I used free-standing glass. You

commissioner], he said it’s a ghost!

-res

treatment of the contemporary

Union of Architects. In 2008, Odile

cannot see it but it indicates different

It looks like the mask in Scream! And

architecture - undulating and

Decq was commissioned to work

spaces. On the mezzanine it is the

that’s why the restaurant was renamed

.opera

natural - plays with the ornamental

on a restaurant inside the Opéra

same story - you manoeuvre around

the Phantom" (Simonnet, 2014). A.B.

www



1. 1



1. 2nsigDe

83

In 1938, after graduating from the with Picasso for a long time in

École des Beaux-Arts de Lyon and

the production of his ceramics,

working as a textile designer for the

Suzanne Ramié never gave up her

Lyon-based company Gillet, Suzanne

own creation. Her work stood apart

Ramié (1905–74) and her husband

from that of Picasso thanks to her

Georges Ramié founded the Madoura

use of monochrome glazes. Picasso

tifs.fr

studio in Vallauris. The Tripodal Vase,

decorated the Tripodal Vase by

dated 1950, represents a break from

accentuating the anthropomorphic

tsdecora

Vallauris’ production, which was

aspect of the piece, thus turning it

typically utilitarian and traditional in

into the head of a woman leaning on

.lesar

style, as well as having a particular

her forearms.

www

design and dimension. Although

A.B.



the Madoura studio collaborated

M

1. 2



1. 3nsigDe

The Fauteuil Soleil, designed by something a little crazy about this"

Janine Abraham, was awarded

(Renous, 1964).

the gold medal at the 1958

Janine Abraham, (1929–2005),

Universal Exhibition of Brussels,

graduated from the École

where she was responsible for

Camondo in Paris, the École des

"activities including a dimension

Beaux-Arts and the École des Arts

of fantasy. That is how Janine

Décoratifs. She then trained with

had the chance to make wicker

René-Jean Caillette, Maxime Old

furniture. Wicker implies craft

and Jacques Dumond, where

84

production and therefore affords

she met Dirk-Jan Rol, whom she

more possibilities for invention",

married. Together they displayed

Rol explained. "I like organisation.

furniture at the Salon des Artistes

I dread nothing more than being

Décorateurs in 1956 and in the

obliged to adapt to a situation

following year opened an agency.

that I have not anticipated. The

They participated in the Turin

same applies in my work. I avoid

International Labour Exhibition in

tifs.fr

improvisation. Except when I

1961 and in the Exposition Formes

create wicker furniture. It seems to

Industrielles in Paris in 1963, at the

tsdecora

me that, on the contrary, there is

Pavillon de Marsan. A.B.

.lesar

www

M



1. 3



1. 4nsigDe

Janine Janet, born in 1913 on planted. Hitting a nail hard is a

Réunion Island, studied at the

somewhat savage joy. Imagine

École Supérieur des Beaux-Arts

what it’s like if one has to, on the

in Toulouse and Paris, and then

contrary, place thousands of nails,

at the École des Arts Décoratifs

each one at a particular depth. It’s

where she was a student of poster

a remarkable exercise of controlled

85

designer Cassandre. In 1952, after

will" (Anthenaise, 2003).

working for various firms (Pierre

Janet used her plastic vocabulary

Frey, Arthus-Bertrand, Christofle),

from the artistic tradition,

she embarked on a long period

from Arcimboldo to Middle

of collaboration with Balenciaga.

Ages sculptors, mixed with

In 1959 she created three busts

contemporary influences of De

sculpted in wood and spiked with

Chirico’s or Ernst’s Surrealism.

tifs.fr

nails, for the shop windows of

This taste for the fantastic and

the Avenue George V, Le Roi (“The

marvellous drew the attention of

tsdecora

King”), La Reine (“The Queen”) and

Jean Cocteau, who commissioned

Le Valet (“The Jack of Cards”).

her to design the costumes and

.lesar

"My personal technique lies in the

décor for Orpheus.

www

fact that the nail is not completely

A.B.



M

1. 4



1. 5nsigDe

Élisabeth Garouste was born

approach. Made of wood painted

in Paris in 1949 and married

in vivid colours and enveloped

the painter Gérard Garouste. She

by a raffia skirt, this unique piece

studied interior design at the

reflects Garouste and Bonetti’s

École Camondo in Paris. From

playful and theatrical world,

1980, she collaborated with Mattia

inspired by the Middle Ages, Black

Bonetti, born in 1953 in Lugano

Africa, Venetian Baroque and Arte

(Switzerland), who had trained

Povera. "This chair resembles a

at a school of decorative arts. In

totem and a sculpture. Around a

1982 the interior decorating firm

table one needs at least eight light,

Jansen exhibited the work of these

practical and inexpensive chairs. In

86

two designers who had veered

this field, we have never been able

away from what were then the

to work seriously with the industrial

fashionable industrial and high

world on a chair. Our chairs, like

tech trends. Instead, they proposed

those created for the campaign

a primitives style that earned them

of Napoleon III’s son, against the

the nickname 'nouveaux barbares'

Zulus, remain nothing but nice

tifs.fr

('new barbarians'), after a Barbare

stories, neither very practical nor

chair exhibited at Jansen.

very decorative" (Staudenmeyer,

The Prince Impérial chair was

Croquet, Le Bon, 1998).

tsdecora

characteristic of their craft-like

A.B.

.lesar

www

M



1. 5





1. 6

ign

t des

se

useumM

87

In 1980, the Musée d’Orsay

framework and the opulence of its

opposition and not in naturalistic or

longitudinal axis, she created an

commissioned Gae Aulenti with

eclectic décor, was a characteristic

stylistic symbiosis, as if the buildings

orthogonal framework that allowed

the set up and decoration of its new

of the late 19th century Beaux-Arts

within the building analysed the

for particular movement between the

.fr

premises. The mission of the Musée

tradition in French architecture.

process of this decomposition, this

rooms. On each side of the central

d’Orsay, established in a former

To transform spaces that had

fragmentation, to lend form to the

path of the wings, she closed off the

-orsay

railway station built by Victor Laloux

originally been intended for trains and

elements constituting their own

view by building two massive towers.

in 1900, was to preserve and exhibit

passengers, Aulenti broke away from

language" (G. Aulenti). She divided

In previous years, Gae Aulenti acquired

.musee

art works and other objects from

the station’s structure and aesthetics:

the majestic space of the hall by

international recognition for both her

the second half of the 20th century.

"The main composition adopted was

erecting massive partitions along

architectural work and her interior

www



Laloux’s building, with its open iron

deliberately and systematically in

the axis of the former rails. On this

decorating and designs. A.B.

M

1. 6





1. 7ntionesig

In 2010, the Haut et Court agency

r d

enova

for cinematographic production

R rio

and distribution commissioned

Matali Crasset to restructure

the interior design of a cinema.

and inte

She proposed a space that was

largely open to the road thanks

to a glass façade through which

the entrance hall and restaurant

area were visible. "The left side of

the entrance gave access to the

cinema. On the right, the restaurant

88

area. Between them, you could

organise your time both before

and after the film. This cinema

has only one hall. It is designed

to experience cinema with other

roots. The seats are numbered, as

and has a lift leading up to the

working for Denis Santachiara



people. The reception area is the

at the theatre, and the cinema has

restaurant area. It is one of the

and then for Philippe Starck, she

heart; it is set in a quasi-networked

.com

an online booking system enabling

only cinemas in the Latin Quarter

founded her own firm in 1998.

metallic structure in which the

audiences to choose their seat and

that also has disabled access"

Some of her works are exhibited at

lodeon

functions of the cinema appear to

to print their ticket at home. Finally,

(Archilovers, 2011).

the Musée des Arts Décoratifs de

be articulated, fitting together like a

the New Odeon is accessible on

Nathalie Crasset - known as Matali

Paris and the Museum of Modern

.nouve

3D puzzle whose elements are the

the ground floor, from the street,

Crasset - was born in 1965. After

Art in New York. A.B.

www



1. 7





1. 8n

esig

, reuse

r d

tion

rio

enovaR and inte

89

In 2003, the City of Paris launched a a place that welcomed all artistic

to new types of encounter between

she maintained an emphasis on

competition for the transformation

forms and which also welcomed both

artists and the public" (Press Release,

flexibility and plasticity characterized

of the former Gaîté Lyrique Theatre,

artists and the public: "a 'permissive'

2007).

by the 'little guides', that are "small

net

which had been built under the

place welcoming the random and

To this end, the architect created

modules containing techniques [that]

ue.

Second Empire but had not been

the unexpected, defining without

two distinct types of space: spaces

are dedicated to the artists or to the

riq

used or maintained since 1967.

predefining anything, allowing a

for presentation, consisting of

public, to creation, or to presentation.

The idea was to create a cultural

fusional and non-compartmentalized

three main halls - the auditorium,

They enable one to create and un-

gaite-ly

centre for present-day music and

encounter between the digital arts

the multimedia theatre, and the

create a multitude of scenes following

w.w

contemporary arts. Manuelle

and present-day music, between all

conference hall - and areas for

the pace of the place itself" (Press

w

Gautrand set herself two objectives

the digital cultures irrespective of

moving about and for documentation

Release, 2007).



in transforming the building: to create

what they are and finally a place open

and exhibition. At the same time,

A.B.

1. 8

itinerary 2

In this second itinerary, we leave the prestigious national monuments and complex of Residential Buildings with 111 Apartments (3). This complex palaces which we saw during our visit of the centre of Paris, and we offer

overlooks the water basin and a beautiful residential area with parks for

you a different perspective: a stroll through the residential buildings and

children and a waterfront promenade. The 111 flats were built in 1985, at

civil infrastructures which allow Paris to preserve a working population

the corner of Quai de la Loire 66 and Rue Vincent Scotto 4-6 in the 19th

and avoid being transformed into an open-air museum. These districts

Arrondissement: they are divided up between two separate buildings at are a little away from the historical centre but, according to the current

right angles to one another.

division in which economic activity is reserved for the more western-

Next, leave the water basin behind you and walk approximately 20

situated areas, these neighbourhoods in the north-eastern part of the city

minutes towards your next stop, passing by the famous Buttes Chaumont

are essentially home to residential properties.

Park. Rue Lauzin is right next to the park. At number 22, you will find the

Our first stop starts in the heart of the 18th Arrondissement, just a Lauzin Municipal Collective Nursery (4) built in 2004 by Shohreh Davar

15-minute stroll from the world-renowned church of Sacré Coeur: this

Panah: situated on the ground floor of an ordinary 1970s Parisian building,

Social Housing and Commercial Building (1) is a project by Shohreh

it was initially concealed behind a blind wall. The 19th Arrondissement

Davar Panah and dates to 2013. She designed this building as a sculpted

municipality wanted to restructure the building and give it street access.

compact volume. The two scales are decidedly marked and clear to see.

Ten minutes away you can find the Belleville Residential Complex (5)

90

The entire building is enveloped in zinc, with a dark patina, and punctuated

designed by Catherine Furet in 1995 and overlooking a set of low houses

vertically by a geometric design based on the lines of the façades and the

next to Belleville Park. Do not miss the Belleville Park and the lovely Saint rhythms and proportions of the openings around it.

Martin Canal. We now leave the hip neighbourhood of Belleville and head The second work and stop on our itinerary is in Rue Ernestine, 10

towards Rue de Pyrénéees, in the 20th Arrondissement.

minutes from Davar-Panah’s work. This is a Residential Building in Goutte

The last stop of this itinerary is slightly further away, though easily

d’Or (2) by Odile Decq, dating from 1995, and noteworthy for its industrial

accessible both on foot (passing through the famous Père Lachaise

style combining a metallic covering of the wired fences with plate-glass

cemetery) or by public transport. This last project, located very close

openings on the façade. Odile Decq was awarded the first Woman

to the multicultural neighbourhood of Montreuil and its famous weekly

Architect Prize by the Association pour la Recherche sur la Ville et l’Habitat Marché aux Puces (flea market), is a recent Social Housing Apartments (ARVHA) for five projects. This residential building is one of the winning

and Nursery (6), built in by Ingrid Taillandier. It represents a harmonious

works. From here, head east: a 30 minute walk will take you to our next

adaptation of a building, consisting of social housing and a crèche

stop, right in front of the Bassin de la Villette, where the famous Canal

(nursery), in composite architectural surroundings.

Saint Martin starts its journey through the city. Edith Girard’s work is a A.B.





2

1

1

2

33

Social Housing and Commercial

1

Building - Rue Boinod,

15 and Rue du Nord, 27−29

Residential Building in Goutte d‘Or

2

Rue Ernestine, 13

91

4

4

Residential Buildings with 111

3

Apartments - Quai de la Loire, 66;

5

5

Rue Vincent Scotto, 4−6

Lauzin Municipal Collective Nursery

4

Rue Lauzin, 22

Belleville Residential Complex

5

Rue Piat, 43−49

Social Housing Apartments and

6

Nursery - Rue des Pyrénées, 68−70

6

6

2

Sources: Esri, HERE, DeLorme, TomTom, Intermap, increment P Corp.,

GEBCO, USGS, FAO, NPS, NRCAN, GeoBase, IGN, Kadaster NL,

Ordnance Survey, Esri Japan, METI, Esri China (Hong Kong), swisstopo,

MapmyIndia, © OpenStreetMap contributors, and the GIS User

Community





2. 1

Ex-novo

In 2008, Shohreh Davar Panah,

founder of the Atelier Architectes

Davar & Associés, won a

competition to transform an

old building unfit for habitation

into social housing and shops.

Based on her plan, she decided

to demolish the old building and

to replace it with a new one, for

she would otherwise have been

92

able to retain only the façade. The

architect nevertheless wished

to maintain the layout the road,

which was situated in a working-

from the somewhat severe

inside" has a railing with an

by a geometric design based on

class district that presented a

character of the Rue Boinod, to

openwork design. It serves two

the lines of the façades and the

typological diversity of buildings

then create a gradual transition

flats per floor, along with a lift

rhythms and proportions of the

and scales. The volumes, rhythms

towards the more domestic one of

that opens onto landings from

openings around it. "We also chose

and scales of her building fitted

the Rue du Nord" (Borne, 2013).

which the outside can be seen

a dark zinc to assertively contain

into the surroundings. She

The two scales are markedly

through glass panes. The entire

the corner" (Borne, 2013), she

designed it as a sculpted compact

different. The staircase, placed

building is covered in dark patina

explained.

volume for which she "borrowed

outside "to leave more room

zinc and vertically punctuated

A.B.

2. 1





2. 2

Ex-novo

This building, located in the

Goutte d’Or district of Paris,

is significant for its industrial

style that combines a metallic

railing with plate-glass openings

on the façade. Restricted by the

narrowness of the stand, the

building presents a small rectilinear

93

façade on the road and then

extends inwards.

Odile Decq was awarded the first

Woman Architect Prize by the

Association pour la Recherche sur

la Ville et l’Habitat (ARVHA) for five

projects: the "Phantom" - L’Opéra

Restaurant (described in this guide

on our first itinerary); the Museum

of Contemporary Art of Rome

Populaire de Bretagne (the Co-

– MACRO; the Fonds Régional

operative Bank of Brittany), and

d’Art Contemporain of Brittany -

the residential building in the Rue

FRAC Rennes (Brittany Regional

Ernestine.

Contemporary Art Fund; the Banque

A.B.

2. 2





2. 3

Ex-novo

These 111 flats, built at Quai

de la Loire 66 and Rue

Vincent Scotto 4–6 in the 19th

Arrondissement, are divided

between two separate buildings

at right angles to one another

– a layout bordering an inner

courtyard and which allows a road

to pass through. The elevation

94

of the façades evokes the

classical language of architectural

Modernism between the two

World Wars, with its treatment of

surfaces, vertical openings, and

in 1974. In 1976, she took up a

Colombia, Lebanon and Japan.

allowed to be expressed. This led

the use of concrete, and recalls

teaching post there and helped

As a freelancer for an agency

her naturally to focus her work on

the theories and practices of Aldo

found the UNO group, along with

established in 1977 with her

housing, especially social housing.

Rossi and Bernard Huet.

Henri Ciriani, Jean-Patrick Fortin

husband Olivier Girard, Edith Girard

In 1985, she was shortlisted for

Edith Girard was born in 1949 and

and Claude Vié. She was also

has always shown concern for a

the Equerre d’Argent prize for a

died in 2014. She graduated from

a visiting professor in various

city in which there is a spirit of

residential building created in the

the École Nationale Supérieure

universities and institutes in

solidarity and humanity, where

same year.

d’Architecture de Paris-Belleville

the Netherlands, Canada, USA,

the inhabitants’ emotions are

A.B.

2. 3





2. 4

tion

enovaR

95

The crèche, situated on the

a discreet frame. The simplicity of

ground floor of an ordinary

the square glass panels contrasts

Parisian building from the 1970s,

with the chromatic palette, playing

was initially concealed behind a

on blues and greens, pinks and

blind wall. The municipality of the

greys. The panels are made of

19th Arrondissement wanted to

laminated glass, fulfilling security

restructure the building and open it

requirements while following

onto the street.

aesthetic criteria, guaranteeing

Shohreh Davar Panah remodelled

light and transparency and allowing

the alignment by surrounding it with

plays of colour that change with

repetitive modules consisting of

climate, distance and angle.

coloured glass scales mounted on

A.B.

2. 4





2. 5

Ex-novo

96

This residential complex, located built-up sites and empty space,

d’Architecture de Versailles (School

a grant from the Académie de France

in the higher-lying part of the

reflection on domestic architecture

of Architecture of Versailles). In

in Rome, she established her own

Belleville neighbourhood, overlooks

and on its capacity to integrate the

the following year she obtained a

agency in 1985. She also carried on

a series of low houses next to

disorder caused by the occupation

post-graduate degree in History

teaching, first in Versailles and then

the park. As a whole, it expresses

of buildings and the creation of

from the École des Hautes

in Clermont-Ferrand and at the École

the architect’s convictions on the

places for sociability.

Études en Sciences Socials

Spéciale d’Architecture de Paris.

social function of construction:

Catherine Furet, born in 1954,

(The School for Advanced Studies

A.B.

fragmentation in sequences,

graduated in architecture in 1980

in the Social Sciences). After a two-

attention paid to the right ratio of

from the École Nationale Supérieure

year period at the Villa Médicis on

2. 5





2. 6

tion

enovaR

The Rue des Pyrénées project

represents a harmonious

adaptation of a building, consisting

of social housing and a nursery,

in composite architectural

97

surroundings. Taillandier

proposes a homogenous style

of architecture, with a play of

recesses and projections on the

façade, and complex articulation

with surrounding buildings, as well

as a subtle architecture, with her

use of a variety of materials. The

façade overlooking the road, divided

d’Architecture de Paris-Belleville

abroad (collaborating with Philippe

of density and height of buildings.

into three sections, fits into the

(School of Architecture of Paris)

Gazeau, Richard Meier, Behnish

She was also the scientific organizer

restrictive framework of Parisian

in 2000 and obtained a Master’s

& Partners); teaching at the École

for the exhibition L’Invention de la

town planning.

degree from Columbia University

d’Architecture de Versailles (School

Tour Européenne at the Pavillon de

Ingrid Taillandier graduated

in New York. She works in three

of Architecture of Paris); and the

l’Arsenal in Paris, in 2009.

in architecture from the École

fields: architecture, in France and

theoretical reflection on questions

A.B.

2. 6

itinerary 3

The western Parisian districts were marked off by the Royal Road, which received the Cogedim de la Première Œuvre award. As a whole, it attests runs from the Palais du Louvre to the Défense via the Carousel and to the common language for residential buildings in the last decade of the

the Arc de triomphe de l'Etoile and the Grande Arche, to continue beyond.

century, which can also be found in many projects: modest and somewhat

Districts were developed along this historical axis which were reserve for

banal modernity that complies with the constraints of Parisian town

upper class residences and economic activities; the main example of this is

planning. The Front de Seine district is a short stroll from here, with lovely the Défense, an island of modernity and architectural innovation within the walks along the river and peculiar high-rise buildings still within the city

classic Parisian urban fabric. The Champs-Élysées, the symbol of French centre.

luxury, extends the royal prospect of the Tuileries, drawn up by the gardener Our next stop is located not far from the Paris EXPO. In 2003, Catherine

André Le Nôtre and continued by Baron Hausmann.

Furet designed a Residential Building (4) in Rue Leblanc, a very challenging

The first visit of our third itinerary starts right in the heart of Champs-

project as it was on the fringes of the demarcation line of the Petite

Élysées Avenue. Manuelle Gautrand - graduated in architecture from the

Ceinture, close to the former railway line that surrounded Paris within École Nationale Supérieure d'Architecture in Montpellier in 1985 - is the the Boulevards des Maréchaux. The north-facing plot for this buildingwas author of the Citroën Showroom (1). The main façade of this huge sculpture

adjacent to the railway line and over a hundred metres long.

displays the double chevron - the company’s symbol - over the entrance

The last stop on our third itinerary is slightly detached from the

98

porch and then repeated higher up. The project was completed in 2007. Do

previous ones and we will find it after crossing the southern part of the city, not miss the Grand Palais, which is only five minutes away from here.

through Montparnasse, towards the southeast, in the 13th Arrondissement.

Afterwards, head west to Avenue de Friedland, very close to Place de

The Dunois Theatre, the last stop of the visit, is a renovation project by

L’Etoile, where the “Origami” - Office Building (2) is located, a project by

Edith Girard dating back to 1990 and a combination of residential buildings

the same innovative author, Gautrand. The “Origami” project included two

and the Dunois Theatre (5). The theatre was rebuilt on a triangular plot

separate parts: a main building, twenty metres long, along the avenue, and

in this part of the city that was both residential and industrial. With its

an annex behind it, between two gardens. On the avenue, the architect

complex composition and an accessible terrace, this building was intended

designed a glass façade partially covered by a second layer of glass, which

to be an homage to Le Corbusier’s architecture, while at the same time

gave it a 'wrinkled marble' aspect, creating a coloured vibration.

evoking a revisited Haussman tradition, owing to the rotunda on the corner

We now leave the Etoile area and cross the Seine River. We proceed

of the triangle.

southwards, crossing the Champ de Mars opposite the Eiffel Tower and While here, do not miss the chance to visit the National Library,

reaching Rue du Théâtre, in the busy 15th Arrondissement. In 1992,

dedicated to former President François Mitterrand, only a stone’s throw

Patricia Leboucq designed this Residential Building (3) or which she also

away from the Dunois Theatre. A.B.





1

2

3

22

11

Citroën Showroom

1

Avenue des Champs-Élysées, 42

99

33

"Origami" - Office Building

2

Avenue de Friedland, 26

4

Residential Building

4

3

Rue du Théâtre, 67

Residential Building

5

5

4

Rue Leblanc, 70–78

Dunois Theatre

5

Rue Louise Weiss, 7;

Rue de Chevaleret, 108–118

3

Sources: Esri, HERE, DeLorme, TomTom, Intermap, increment P Corp., GEBCO,

USGS, FAO, NPS, NRCAN, GeoBase, IGN, Kadaster NL, Ordnance Survey, Esri

Japan, METI, Esri China (Hong Kong), swisstopo, MapmyIndia, © OpenStreetMap

contributors, and the GIS User Community





3. 1

Ex-novo

When the car manufacturer

Citroën wished to convert a

narrow stand (10 m wide and 30 m

long) that it owned on Paris’ most

prestigious avenue, the Champs-

Élysées, into a showroom it turned

to Manuelle Gautrand’s agency. The

architect chose to treat the project

as a transparent showcase allowing

100

the centrally situated monumental

sculpture to be visible from the

road: "This sculpture is a giant

display around which visitors turn

(Gautrand, 2007). The façade is

Champs-Élysées the shell starts

suffusing the inside with a soft white

via a succession of landings and

based on the double chevron, the

with a simple, flat and regular

light" (Gautrand, 2007). Manuelle

staircases that lead to the top of the

firm’s symbol, over the entrance porch

curtain-wall. The double chevron

Gautrand, born in 1961, graduated

building, from where the view onto

and then repeated higher up: "The

then appears, and is developed more

in architecture from the École

the avenue below is magnificent.

outer shell, in a single swoop and

and more freely and inventively, right

Nationale Supérieure d'Architecture de

The cars are displayed on revolving

made completely in glass, reflects

up to the top. The glass façade is

Montpellier in 1985. In 1991, she set

circular platforms covered in facetted

the chevron: the company’s emblem.

bent, a giant piece of origami, tinted

up her own agency.

mirrors that fragment their image"

On the façade that overlooks the

with white and red translucent films

A.B.

3. 1





3. 2

Ex-novo

101

Manuelle Gautrand called this the architect designed a glass façade formed from a serigraphy with a to protect the privacy of those within.

office building on the Avenue

partially covered by a second layer of

marble motif, on a double layer of

It also filters the daylight to create a

Friedland, close to the Place de

glass, which gave it the appearance

laminated glass. The symmetrical

soft atmosphere inside.

L’Étoile, the “Origami”. The project

of folded marble creating a coloured

panels are creased and assembled

A.B.

included two separate parts: a twenty-

vibration.

in pairs, forming an 'open-book'

metre long main building along

The building was called "Origami"

motive that exploits the graphic

the avenue and an annex behind it,

because of this second layer

effect of marble veins. This second

between two gardens. On the avenue,

composed of 'creased' glass panels

translucent and precious 'skin' serves

3. 2





3. 3

Ex-novo

P

102

atricia Leboucq, who has been

treatment through the use of noble

practising independently since

materials such as Beauval or Cardoso

1986, received the Cogedim de

stone, or white marble that partially

la Première Œuvre award for this

conceals the entrance of the building.

residential building created in

As a whole, it attests to the common

1992. This work adopted the same

language for residential buildings

principle as on neighbouring plots: a

constructed in the last decade of

building on the road, a garden, and a

the century, and which can be found

building on the courtyard. The façade

in many projects: a modest and

overlooking the road blends with the

somewhat banal modernity that

staggering of the semi-detached

complies with the constraints of

buildings and received special

Parisian town planning. A.B.

3. 3





3. 4

Ex-novo

103

With this plan, Catherine Furet within the Boulevards des Maréchaux. and parking spaces) was divided spaces and entrances. The cast was confronted with a

The plot for this north-facing building

into four plots, each with flats on

concrete was combined with white-

complex situation. The project in Rue

was next to the railway line and over

six levels and four individual houses

coated prefabricated elements on the

Leblanc in the 15th Arrondissement

a hundred metres long. The idea was

on two levels at the end of the plot,

façade. Overall, this entity gives the

of Paris was on the very edge of

to create a long slab building - typical

away from the road, with a private

impression of being an architectural

the demarcation line of the Petite

of low-cost housing built in the 1950s

garden.

paradox: a large complex on a human

Ceinture; that is, close to the former

and 1960s - so the plan (consisting of

The various buildings were set on a

scale.

railway line that surrounded Paris

forty-two flats, four individual houses

brick base that housed the parking

A.B.

3. 4





3. 5

Ex-novo

104

In 1979 a music hall, the Dunois residential and industrial.

was residential, with the theatre on

was intended to be an homage to

Theatre devoted primarily to jazz,

The project, commissioned to

two levels; and the artists’ studios

Le Corbusier’s architecture, while at

is.org

was set up in a former postal depot

Edith Girard, consisted of eighty-six

away from the road on a separate

the same time evoking a revisited

that had become a warehouse and

dwellings, five artists’ workshops

plot, on three levels topped with a

Haussmann tradition, owing to the

was to be demolished. The theatre

and the new theatre. The architect

gangway leading to four studios.

rotunda on the corner of the triangle.

treduno

was rebuilt in 1990 on a triangular

designed two separate sets of

With its complex composition and

A.B.

.thea

plot in a part of the city that was both

buildings: one along the road that

an accessible terrace, the building

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3. 5





pioneer

Charlotte Perriand was one of the most

by moving the body. This piece of furniture was produced by Thonet,

influential designers of the Modern

and Perriand posed for the advertisement photograph of the chaise-

Movement. After graduating from the

longue. She left Le Corbusier’s agency in 1937 to work with the painter

Union Centrale des Arts Décoratifs in 1925,

Fernand Léger. In 1940 the Japanese Ministry of Trade and Industry

she participated in the same year in the

entrusted her with an industrial design advisory mission. The outbreak

International Exposition of Modern Industrial

of Second World War forced her to seek refuge in Vietnam until 1946.

and Decorative Arts and, the following year, in

This long period in the Far East afforded her an opportunity to study

the Salon des Artistes Décorateurs de Paris. In

traditional woodwork techniques, in which she perceived an echo of Le

105

1927 she exhibited "Un Bar sous le toit" at the

Corbusier’s architectural research. The "Sélection, Tradition, Création"

Salon d’Automne and subsequently joined Le

exhibition in Takashimaya department stores of Tokyo and Osaka enabled

Corbusier’s agency. Perriand was put in charge

her to show how traditional Japanese production could be adapted to

of furnishings and fittings at the Villa La Roche

Western uses. In 1929 she

and the Villa Church, presented under the title

exhibited a bamboo version

"Équipement intérieur d’une habitation" at

of the chaise-longue, and in

Charlotte Perriand

the Salon d’Automne in 1929. She applied Le

1936 another of her folding

Corbusier’s functional principles developed in

armchair.

L’Art décoratif d’aujourd’hui (1929). Le Corbusier, Pierre Jeanneret and The B306 chaise-longue

Charlotte Perriand drew three chairs on a chrome tube structure: the

designed by Perriand, Le

B301 chair for conversation, the LC2 “Grand Confort” for relaxation, and

Corbusier and Jeanneret

the B306 chaise-longue for rest. The latter, inspired by beds from Louis

in the late Twenties rapidly

XVI’s reign, consisted of a simple metallic frame over which steel wires

became a prime example of

were stretched, attached by springs. The base was built on aviation tubes

to which four conical legs were attached. The chair had no mechanism

Mexico's house

and could be used as an armchair, a chair for resting or a rocking-chair,

Library, Paris, 1952

Modernism, for its use of new materials and industrial production been made for the "Sélection, Tradition, Création" exhibition, and a book techniques, and for its ergonomic aspect.

had been published in 1941 in Tokyo to set out the theoretical principles

In local production she distinguished two types of objects of

underpinning these prototypes (Perriand, Sakakura, 1941). After the war

different quality: objects intended for export, that awkwardly imitated

Japan adopted an industrial policy that, to a large extent, caused it to lose the formal characteristics of Western design; and objects intended for

its traditional know-how. These skills were seen to belong to a bygone

the local market, produced according to traditional techniques that

age and to be of no use in the context of development of new production

could also be used to produce modern objects. To demonstrate the

technologies. New schools of industrial art were set up, and design, the

efficiency of these traditional production techniques, she suggested

term that gained currency in the Fifties, supplanted craftwork. The MITI,

transposing into bamboo and wood a few of these creations

the influential Ministry of International Trade and Industry, founded in 1949, envisaged not as models but as typical solutions. Perriand wanted to

facilitated the standardized conception of design by opening agencies to

propose a natural evolution from craftwork to design, based on the

develop it, in 1957 and 1958. When Perriand organized an exhibition of

art workers’ practical skills and on the designers’ cultural imprints.

her recent works in 1955 in Tokyo, she wanted to highlight the necessity

In this sense the chaise-longue exemplifies the intention to create

to have in-depth knowledge of the new technologies and materials offered

a gradual transition from conventional craftwork to modern design.

by industrialization, as they were the only effective way of mass producing

Although this particular form of seat was not part of the Japanese

quality objects. Craft techniques could be used only for objects in limited

106

domestic tradition, it could, by its pure line, its local materials and

series, for the luxury market: "The creators of models are in a dead-end its productive technique, evoke traditional furniture. While this

street. Either one does craftwork, or one does mass production. In the

proposition was well received by artisans, it triggered criticism among

former case, one may as well veer towards pure craftwork, even if it is

teachers of decorative arts (Renous 1969, 73–84; Benton 1998, vol.11,

considered to be luxury production (…) At least we will preserve these

31–58). Perriand’s experiment was however discontinued when Japan

beautiful craft techniques that unfortunately are tending to disappear and

entered the war, even though a small number of prototypes had

therefore to become increasingly expensive" (Benton 1998, 50).



TURIN

TURIN

2004 by the Order of Architects - OAT ( Ordine degli Architetti Pianificatori, Paesaggisti e Conservatori della Provincia di Torino). The prize aims to raise This chapter presents three itineraries which comprise twenty-one works awareness and give visibility to those works that provide a better quality of situated in the city of Turin and two works in its metropolitan area.

built environment thanks to their careful architectural design and coherent

The first itinerary focuses on the city centre, while the other two stretch

realisation. It also aims to encourage observers to appreciate and enjoy

north and south, outside Turin to Pino Torinese and Moncalieri where

architecture, even though they are just visitors or passers-by. A plaque on

two significant buildings are accessible to visitors. The chapter includes

the wall of the prize winning building shows the ‘extraordinary quality of

an article about ‘pioneer’ Ada Bursi (1906−96) who was the first female

ordinary architecture’ to both local people as well as MoMoWo visitors.

professional architect to work in the city and it suggests other works to be

Among the women architects in Turin itineraries, Laura Petrazzini Levi

visited beyond the ones included in the itineraries.

(1931−86), author of Residence Du Parc (Itinerary 3), is included in the "Albo A brief introduction to each itinerary guides visitors along the routes

d’Onore del Novecento. Architetti a Torino" (Honour Roll of the 20th century.

which are rich in urban and architectural history. They can also experience

Architects in Turin). Her work has been recognised for its originality and her the transformations which have significantly changed Turin’s vocation

ability to give consistency to her architectural designs without losing sight of and identity since 1980s as it has developed alternatives to its industrial

the numerous and varied distinctive traits. The Honour Roll was established

108

image. It used to be the epitome of a company town, but over the last few

in 1980 by OAT to celebrate and preserve the memory of professionals

decades it has become one of those medium sized European cities to

who have brought honour to the category with the quality of their work,

have significantly changed its urban landscape. The city centre is the first

commitment to culture and education, dedication to work, and participation

urban area to have progressively consolidated its cultural attractiveness

in civic life.

over time. The works in Itinerary 2 and Itinerary 3 are closely connected to

Out of thirty-eight architects included in the Honour Roll, besides Petrazzini the crucial steps of Turin’s transformations including the reuse of the FIAT

Levi, just two other women are mentioned. They are Vera Comoli

( Fabbrica Italiana Automobili Torino) factory Lingotto (1982), the approval of Mandracci (1935−2006) and Mariella de Cristofaro Rovera (1931−2001).

the Land Use Plan ( Piano Regolatore Generale - PRG) in 1995, and the works Both women distinguished themselves with their exceptionally ethical,

for the Winter Olympic Games in 2006. This is the why, women architects’

human and professional rigour which also greatly highlighted their intensive

contribution is mainly seen in restorations, renovations, reuses, extensions, scientific and academic achievements at the Politecnico di Torino. As they

interior and museum set design.

were both professors, Comoli in the fields of Urban History and de Cristofaro Ten architectural works from the three itineraries received the

in Construction and Structural Engineering, transferred their passion and

Architetture Rivelate Prize. This local annual prize was established in

knowledge to generations of students, that are now architects.

itinerary 1

This itinerary takes Turin’s city centre starting from the 17th century district. maximus - the principal axis of the Roman settlement - and then widened in This area has been characterised by the presence of some important

1736−39 by Benedetto Alfieri. The second is Via Pietro Micca (1885), a diagonal theatres and cultural buildings since the 18th century. Among them is the

street with arcades which bears witness to the intensive transformations begun Gobetti Theatre (1). Walking along Via Gioachino Rossini visitors will reach Via at the end of the 19th century. On the corner between Via dell’Arsenale and

Po. This arcaded street was designed by architect Amedeo di Castellamonte in

Via Benedetto Alfieri visitors will see Lascaris Palace (5). Going straight along 1673, who created a theatrical walkway to connect the city centre with the Po Via Alfieri they will reach Piazza San Carlo. The square with arcades, originally river.

built as the Royal Square, was designed in 1637−44 by Carlo di Castellamonte

At the end of Via Po visitors will arrive in the heart of the Baroque capital as part of the southward expansion plan of the Baroque city (1620). This

city, Piazza Castello. The square was commissioned in 1584 to architect

square was pedestrianised for the Olympic Winter Games (2006) under the

Ascanio Vitozzi, who designed a wide square around the Medieval Acaia castle

direction of architect Elena Bosio. Going straight along Via Giovanni Giolitti, (1317), now named Palazzo Madama (2, Civic Museum of Ancient Art). Chosen

on the right is Valdo Fusi Square (6). This was built in an area which had been 109

by the Duchess Maria Cristina of France (1606−63) as her favourite residence, heavily damaged during the Second World War. The east side of the square is

the building underwent its first renovation. However, it was the second ' Madama characterised by the Baroque San Giovanni Vecchio Hospital (7, "Infernotti" -

Reale' (regent), Maria Giovanna Battista di Savoia Nemours (1644−1724), who Multifunctional Hall), designed by Amedeo di Castellamonte (1680).

brought about a decisive transformation and turned the ancient castle into a

Turning left into Via Camillo Benso di Cavour visitors will enter the city

royal residence, assigning the new façade design to Filippo Juvarra (1718).

Neoclassical district, called Borgo Nuovo which was built between 1825 and On the northern side of Piazza Castello stands the Royal Palace. It

1864. Here they can see the Aiuola Balbo and Giardino Cavour. The outline of was designed in 1584 by Ascanio Vitozzi in order to host the Savoy royal

these two gardens shows the presence of the former city fortifications. From

headquarters. Crossing the square, a passage on the left leads directly to

the nearby Via della Rocca it is possible to see a view of Piazza Vittorio Veneto.

Piazza San Giovanni, where the Renaissance San Giovanni Battista cathedral

The Neoclassical square, designed by Giuseppe Frizzi (1825), is characterised houses the Holy Shroud. Reaching Largo IV Marzo, visitors will arrive in the

by uniform arcades and sober architectural lines. On the opposite side of the centre of the Medieval city, where they can admire two renovated historical

river is the imposing Gran Madre di Dio church. It was designed by Ferdinando buildings the "Casa del Senato" - Apartment Building (3) and the University Bonsignore and built in 1931, based on the model of the Pantheon in Rome.

Residence (4).

Crossing Corso Casale, visitors can go up the Monte dei Cappuccini as the last Walking along Via Porta Palatina visitors will cross two important streets.

step of the first itinerary, the Mountain National Museum (8), and enjoy a great The first one is Via Giuseppe Garibaldi, designed by the Romans as decumanus view of the city and the surrounding Alps. C.S., A.S.C.

itinerary 1

Gobetti Theatre

1

Via Gioachino Rossini, 8

Palazzo Madama - Civic Museum of Ancient Art

2

Piazza Castello

"Casa del Senato" - Apartment Building

3

Largo IV Marzo, 17

University Residence

4

Via Cappel Verde, 5

110

Lascaris Palace

5

Via Benedetto Alfieri, 15

Valdo Fusi Square

6

Piazzale Valdo Fusi

"Infernotti" - Multifunctional Hall of San Giovanni Battista Hospital 7

Via San Massimo, 24

Mountain National Museum

8

Piazzale Monte dei Cappuccini, 7



3

4

2

6

1

5

7

111

6

7

8

8

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112

The Gobetti Theatre was built

in the 1980s for safety reasons.

historical core, where technical

and designed to accommodate the

to host the seat of the Turin

The restoration project involved the

facilities were enlarged and

services area.

obetti/

Amateur Dramatic Society in 1840.

conservation of the foyer and the

improved. Additional spaces have

The connection between original

o-g

It was designed by Giuseppe Leoni

main hall, including the stuccoed

been designed to host the ateliers,

and new elements is the basic

atr

following the typical Italian theatre

ionic parastas and frescoes. On the

the offices and to enlarge the

underlying concept of the project,

o.it/te

plan scheme, with the exception of

historical façade, facing Via Rossini,

stage. The façade combines new

which is typical of Italian restoration

rin

some variations. According to the

a careful restoration of the plasters

and ancient bricks with metallic

style since the 1950s especially

Neoclassical more ‘democratic’ idea

and decorations was realized.

yellow-painted windows frames.

in buildings for culture. This work

of art, in fact, the traditional tiers of

The renovation work also involved

The new construction consists in a

received the Architetture Rivelate

ostabileto

boxes were avoided. It was later used

the spatial and functional

semi-cylindrical building on pillars,

prize from the OAT in 2005.

atr

as a prose theatre and finally closed

organization of the building’s

completely hidden to the theatre

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1. 2

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The ancient Acaja family castle,

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which included one of the city

sto

Roman gates in the 13th century,

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is one of the most multi-layered

museum

buildings in Turin. Originally Roman,

then Medieval, the building was

later extended by Filippo Juvarra to

give the royal Savoy family another

113

gorgeous residence during the late

Baroque period (1718−21). It was

restored in the last years of 19th

century by Alfredo D’Andrade, who

.it

structured the project showing

ino

the different phases of the ancient

tor

building.

Entrusted to the city administration

1988. Extensive restoration of almost

included philological restoration of

witnessing new solutions such

at the beginning of the last

a decade of works was carried out

the Juvarra's monumental staircase,

as the steel staircases in the

lazzomadama

century, Palazzo Madama housed

up to 1996 by a group of architects

.pa

the anastylosis of the Medieval court

tower facing the Po river and the

the Civic Museum of Ancient Art

and restorers, in order to show to the

and the positioning of glass over

‘treasure-rooms’ in which some of

since 1934. The changes in public

public the collection, the story of the

www

the archaeological excavations. The

the themes of the collection are

exhibition venue safety regulation

building and its civic significance over



visitors to the museum can have a

reunited and explained in detail.

forced the museum to close in

the centuries. The restoration work

feel of the original interior, as well as

E.D.

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1. 2





1. 3

ion

tens

This building is probably one of

ex

the most important testimonies

of the Medieval period of the city.

and

Originally built with Roman materials,

it was supposedly the residence of

tion

the Duke during the Langobardic

domination (6th century). Afterwards

enovaR

it was rebuilt several times and

consequently showing a 16th century

façade, with mullioned windows. It

was then restored in the late 19th

114

century by Riccardo Brayda, one of

the protagonists of the Gothic Revival

in Turin. Heavily damaged by Second

World War bombing, the building was

completely rebuilt during the 1950s,

with only the façade still standing.

the medieval parts and evoking the

war construction. Five residential

overlooking the old town, with its

In 2011, in accordance with a wider

former tower system still present

units and two commercial ones

Roman, Medieval and Renaissance

programme of renovation of the

in some of the remaining Medieval

were created using only one-half

sights. This work received the

‘Roman district’, a project overseen

houses. The project involved the

of the original building, while

Architetture Rivelate prize from the

by the Cultural Heritage Office was

insertion of a new, modern-looking

the remaining part still awaits a

OAT in 2014.

assigned to the De Ferrari’s studio.

tower that connects the historic

complete restoration. There are

E.D.

The project was aimed at preserving

façade of the building to the post-

also two terraces on different levels

1. 3





1. 4

ion

, reuse tens

tion ex

enova and

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115

The project involved the

with four, made it easier to integrate

There is an opening between the

and above windows and shops.

renovation and extension of a

the renovation with nearby buildings

two buildings which favours the

Similarly the tubular inserts, the

historic block in Turin city centre.

of different heights, giving a greater

illumination and ventilation of

arched openings, dormers of

The University Residence houses

uniformity to the façades. The

the courtyard, helping to make it

various shapes and curved façades

49 beds plus one for a disabled

sequence of buildings in Via Cappel

a pleasant public space, but the

help to enliven this inclusion of the

student and common areas for

Verde repeats and reinforces the

buildings are connected by two

new in the stately context. Maria

cooking, meeting, studying and

historic layout of the street, which

walkways covered in metal, with

Teresa Massa (1960), collaborator

recreation. The decision to create

concludes with a slight retreat from

a design that evokes the metal

of Pietro Derossi from 1983 to 1994,

two separate buildings, one in Via

the street line, communicating with

inserts common in 19th century

contributed significantly to the

Cappel Verde with five storeys and

the church of the Holy Spirit and the

architecture. Similar metal details

project both in the creative and the

another one in Via Porta Palatina

churchyard.

are in the canopy of the entrance

execution phases. G.M.

1. 4





1. 5 n

esig

, reuse

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tion

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, renova

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116

Palazzo Lascaris was originally Afterwards the property passed

to the public and the officials.

floor below the courtyard, with an

built as an aristocratic home

to the regional administration that

Together with the restoration of

elliptic plan and a conical roof. The

probably by architect Amedeo di

decided to settle its headquarters

the surviving painted, carved and

characteristic of the project is also

Castellamonte between 1663 and

there. The project was entrusted in

stuccoed decorations the renovation

the accuracy in designing interiors,

1665. It was reworked in the late 19th

1976 to Albini’s architectural firm,

focused on closing the loggias at

furniture, display and signposting in

century following the neo-Baroque

which was particularly involved in

the main level with glass panels

accordance with the architecture: a

taste, then almost completely

the concept of ‘constructing within

thereby allowing insulated access

hallmark of Italian design of which

destroyed during Second World War.

the construction’. The firm was

to the different offices almost

Albini and Franca Helg are among the

It was rebuilt during the 1950s to

requested to design a new main

without interfering with the previous

most significant architects.

host the Commerce Chamber with

assembly hall, a couple of minor

interior layout. The renovated

E.D.

a reinforced concrete structure.

ones and all the spaces designated

Council conference room is on the

1. 5





1. 6n

esig

n d

Urba

117

The urban project covers the

leaving a wide outdoor public space.

Roberto Gabetti and Aimaro Isola.

centre, now hosting a pub. Near

area that previously hosted a

The centre of the square is below

Two slopes link the central space

the pub another building has been

17th century convent and then the

pavement level and can be reached

with the surroundings streets, while

designed to house the Jazz Club.

headquarters of the Royal Industrial

by four surrounding sloping surfaces.

the other two form ‘wings’ covering

The result is a wide urban public

Museum (1862). The area was

The resulting spatial organization

the parking entrances and ramps.

square, where youngsters can meet

heavily damaged during Second

creates a direct relationship between

Furthermore, three of the slopes

and skate on the slightly sloping

World War, remaining an empty

the square and the buildings

contains green areas, whereas

surfaces and people can sit on the

space until 1997. The municipality

around it: the San Giovanni Battista

the fourth has stone paving. In the

wood terraces and stone benches,

then launched an international

hospital, the Chamber of Commerce

middle of the square a glass building

surrounded by green areas and water

design competition in order to create

(1965−72) by Carlo Mollino and the

has been constructed, originally

fountains.

a two level underground car park,

former Stock Exchange (1953−56) by

designed to house an information

E.G.

1. 6





1. 7 ntionesig

r d

, renova rio

euseR and inte

118

Closely related to the theme

this way a particularly evocative space

The design choice wanted to

perception of the room, characterized

of the humanisation of care,

was revived - an underground room

respect the original features with

by unique aesthetic values, the

the project represents one of the

dominated by a semi-circular brick vault

minimal intervention through the

velarium was designed not as a

first examples of soft qualities

with nails - surrounded by a circular

use of light and colour as qualifying

traditional false ceiling, but as

within the hospital heritage in

passage through which the dead were

elements. For economic reasons

a light element independent of

Turin. The space below the church,

taken to the mortuary.

it was decided not to replace the

the structures from which it is

previously used as a pharmaceutical

Through a few careful interventions the

existing light installations but

suspended by means of slender steel

warehouse, was transformed into

space was returned to public use and

simply to screen them from view by

rods. The system creates a bright

a multipurpose room dedicated

set up as a meeting place between the

introducing a bright velarium placed

wraparound effect which highlights

both to care and to art exhibitions,

hospital and the city, turning a place of

diagonally to the floor.

the profile of the vault.

conferences and performances. In

death into a place of life.

In order to allow the spatial

E.G.

1. 7





1. 8

nd ign

n a t des

ratio se

stoRe museum

119

Based on an ancient complex,

in 1942, was improved and enlarged

collections, aiming at connecting the

octagonal drum. Even the natural



church and monastery, designed

- following war damage - till the

spectacular skyline of mountains

light plays an important role entering

.org

in the late 16th century and the

beginning of the 1990s, together

outdoors to the collections indoor.

into the four glass pyramids on

beginning of 18th by Ascanio Vitozzi

with the consolidation of the whole:

To achieve this the project focused

the roof and reaching the first floor

tagna

and Amedeo di Castellamonte, the

church, street, monastery and hill

on the layout of the original

halls. The so-enlightened collection

core of the museum was the product

complex. At the turn of the century,

museum rooms. Furthermore, it is

is settled as a mix of documents

of the collaboration between the

the museum management together

characterized by new connecting

about the mountain modern

.museomon

Club Alpino Italiano (CAI) and the

with a team of architects began

elements, such as the steel staircase

lifestyle, the historical conquests

city administration in 1874. The

a new project of restoration and

and glass elevator, a new vertical

and the witnesses of mountain

www



museum, named Museo Nazionale

museum set design to enhance

axis to the Vedetta Alpina on the new

environments.

della Montagna Duca degli Abruzzi

the quality of the building and the

panoramic terrace placed on the

E.D.

M

1. 8

itinerary 2

This itinerary stretches along Corso Regina Margherita and passes through the wooden covering of the Piedmont heritage in a modern way.

the town from west to east. This important road axis functions as a division

The third stop of this itinerary ends in Piazza Borgo Dora. Facing there, the between the Roman town and the expansion of the city towards the north,

Ex-Army Arsenal (3) hosts the Servizio Missionario Giovani (SERMIG) and the where the intensive industrial development transformed the area and gradually Holden school.

removed the farming heritage.

Now the itinerary goes along Corso Regina Margherita up to Piazza della

The itinerary is organised in six stops coming in succession. Each of them

Repubblica. There visitors will enjoy the wonderful exedra signed by Filippo

is representative of districts having historical, social and architectural features Juvarra and then the Giardini Reali, going in the direction of the hill on the deeply different.

right-hand side.

Our tour starts from west going to east towards the hills. The starting point Past Corso San Maurizio this itinerary runs along the Vanchiglia district is near the San Donato district, in the commercial and lively Via Livorno, to on the right-hand side, called ‘the district of smoke’ due to the presence of a discover an abandoned industrial area, one of the most interesting of the town.

lot of tanneries in the beginning of 20th century, and on the left-hand side of In the hub of that ever changing area - called Spina 3 by the Land Use Plan the Dora River which brushes up against Corso Regina Margherita but then

(1987−95) - reach the Parco Dora - Multifunctional Centre (1), near the former suddenly leaves again for another important changing area: the former gas

Michelin area. A new place to meet people facing the big two-level square with company Italgas area.

120

walkways winding through the green areas.

Among the most remarkable buildings in this interesting urban

The second stop is near Porta Palazzo, the biggest outdoor market in

reconversion, it is worth pointing out the Borgo Dora University Residence

Europe. An extraordinary place for goods exchange and a cultural melting pot.

(Cristiana Bevilacqua - Agenzia Torino, 2006), former born to host the

Heading due north, in the direction of Corso Giulio Cesare, on the left-hand side journalists arrived in Turin for the Olympic Games 2006 and the Luigi Einaudi the Centro Palatino designed by Massimiliano and Doriana Fuksas stands out.

University Campus designed by Norman Foster - a building complex having

Here, the clothing business is gathered and the iron and glass pavilions of the winding shapes, transparent facades and the site specific art work named

covered market in the 1800s are reused in a contemporary way.

“Principio - Cosmo, …lunare” (4) located in its inner courtyard.

This itinerary reaches Via Borgo Dora. Along there and each Saturday

The fifth stop of the itinerary then arrives at the Azimut Club (5) on the

morning the Balŏn, a typical outdoor market winds through workshops, second-other side of the Dora River which is an ex industrial building changed into a hand shops, elegant antique stores or old taverns, where it is still possible to restaurant and club.

taste the traditional Piedmont cuisine. Its hub is the Maglio Courtyard (2). It is The itinerary ends in the Turin metropolitan area reaching the Infin.to

worth pointing out that building with its truncated pyramid covering made of

Planetarium of Turin, Museum of Astronomy and Space (6), surrounded by the

lamellar wood supported in its center by inclined steel struts, where it is used green hills. E.G., C.S.



itinerary 2

Parco Dora - Multifunctional Centre

1

1

Via Livorno, Via Treviso, Via Antonello

da Messina

Maglio Courtyard

2

Via Vittorio Andreis, 18

3

2

Ex-Army Arsenal

3

Piazza Borgo Dora, 49

121

"Principio - Cosmo, …lunare" -

Site Specific Art Work -

4

5

Campus Luigi Einaudi

Lungodora Siena, 100

4

Azimut Club

5

Via Modena, 55

6

Infini.to - Planetarium of Turin, Museum

of Astronomy and Space

6

Via Osservatorio, 30 - Pino Torinese

(Torino)

2





2. 1l

renewa

rbanU

122

The destination of the large

residential and tertiary activities. The

on different levels connected by

of the good quality design of the

industrial areas in the north

multifunctional centre was designed

suspended walkways, elevators,

public space, shows the effect of the

of Turin, abandoned in the 1980s,

to become the core of this new

escalators and balconies. The

culture of today that promotes the

changed with the master plan of

urbanisation and it includes a cinema,

buildings, while adopting a uniform

building of large shopping centres

1995, under the programme of urban

a large shopping centre, offices,

modern language, have autonomous

as substitutes for traditional urban

renewal called Spina 3. The former

restaurants, bars, shops and parking.

finishing and compositional

social life. These spaces, although

Michelin factory was completely

Various buildings arranged around a

choices: brick walls, steel and glass

well designed, are called ‘non-places’

destroyed, preserving only the

public/private space host the different

transparent screens, alternating

because of their anonymity and their

cooling tower, while the surrounding

functions of the complex. The core

openings and closures.

serial reproduction in the globalized

areas were developed to house

is something like a square laid out

The multifunctional centre, in spite

world. G.M.

2. 1





2. 2

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The covering of the Maglio

for local industry and then closed.

fascinating wide space that recalls

integrated with iron structures,

Courtyard was an opportunity to

The new covered square houses

its industrial past through the

show a modern sensibility

reuse one of the four courtyards of

workshops, shops, bars and spaces

presence of the original brick walls.

that characterizes the urban

aglio.it

the abandoned area of the ex-Military

for graphic designers and artists

In the centre of the square, the

transformation of the former Arsenal

Arsenal, in the context of a wider

assigned by a call for tenders.

iron trip hammer of the old military

as one of the most interesting in

delm

requalification plan for Porta Palazzo

The new roof covers the public

factory stands as a testimony of

the recent history of Turin’s passage

ortile

market. The aims of the project,

space with a truncated pyramid

industrial archaeology and became

from industrial to post-industrial city.

headed by the City of Turin, was to

in laminated timber supported by

the fulcrum of the new space.

The project won the Architetture

open a new passage following the

four steel struts and a series of

The respect of the historical and

Rivelate prize from the OAT in 2004.

http://c



course of the ancient Molassi canal,

secondary elements that reinforce

social context and the use of

G.M.

originally used as an energy resource

the four surfaces. The result is a

sustainable materials, such as wood,

2. 2





2. 3

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124

canal linking Piazza Borgo Dora

the feasibility of the recovery of

The spaces of the former Arsenal are

The reuse of the former Military

Arsenal in Borgo Dora began

with Via Cottolengo. The plan was

the Arsenal according to the new

now used for commercial activities

with a plan backed by the mayor

not approved, but was the starting

Master Plan of the City. Comoglio’s

and workshops while the main

Diego Novelli and drawn up by

point for subsequent action. With

project team freed the canal route

building has become the Holden

architects Torretta and Brusasco

the transition of the property from

from incongruous buildings adding

School headquarter. The project,

in the early 1980s. The aims of the

military use to the City, the buildings

a number of water tanks to recall

which is a positive example of urban

plan were to make the complex

were earmarked for the assistance

its former use. The team also freed

transformation in compliance with

accessible, to maintain the historic

activities of the Servizio Missionario

the four courtyards to the south,

heritage and the conservation of its

parts and to demolish unnecessary

Giovani (SERMIG). In the first half of

connecting each other, while a

memory, won the 2004 Architecture

buildings, opening a new passage

the 1990s Adriana Comoglio with

fifth remained with the internal

Rivelate prize from the OAT.

along the line of the old Molassi

a large group of designers studied

construction.

G.M.

2. 3





2. 4

ign

des

, garden

Ex-novo

125

The original work by architect By reinventing the internal garden back to a primordial place that surface that is reminiscent of a

Tisi is in the courtyard of the

of the building, this work of art fits

aspires to counterbalance the

moon crater. At the opposite side

University Campus Luigi Einaudi

into the context and moves away

extremely contemporary building

… lunare is less structured than

(2013). The university complex is

from the traditional concept of

structure. Principio consists of

Cosmo, suggesting an idea of peace

located in a former industrial area,

art, becoming a space to be used

two creations, Cosmo and … lunare,

that seems to invite the spectator to

next to the Dora River. Over the last

during the students’ daily life. Both

placed to delimit a path through

reflect. This contemplative function

years the district has undergone

aesthetical and functional features

vegetation. Cosmo consists of

is underlined by Luigi Einaudi’s

many transformations that

are wisely combined. Art becomes

two low hills made of organic

famous aphorism, quoted near the

persuaded architect Norman Foster

living art. The innovative creation

and artificial material; it presents

end of the walkway: “conoscere per

to introduce a break point with the

tries to reproduce a harmonious

a characteristic sculpted Nanto

deliberare” (know to deliberate).

surrounding context.

landscape, bringing the spectator

stone element settled in a concave

C.S.

2. 4





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The building is located in a

building. Finally, in 2014 a renovation

to connect two dance floors.

The connection between the various

semi-central area of the city

project by Andrea Andrich and TRA

To reach the second floor of the

spaces and their functions, together

near the Dora River. The former

Architetti completely changed the

building visitors go up an external

with the relationship between the

industrial building, after several

spatial and functional organization of

steel staircase located into the

current and former building are the

interventions over the years, was

the club.

courtyard. The upper hall is a long

basic underlying concepts of the

recovered and redesigned in

On the ground floor a covered corridor

and free open-space area. It is

project. To this end, new components

1999 by UdA architectural studio

connects the street to the internal

characterized by reinforced concrete

have been added and the careful use

to accommodate a club and a

courtyard, allowing the visitors to

pillars and big windows. The second

of contemporary materials - metal,

restaurant. In 2007-08 a restyling

reach the club entrance. There, the

floor also opens onto an outdoor

ceramic, glass - and lights play a

work by architect Martina Tabò

service spaces (cloakroom, bar and

terrace which faces the internal

fundamental role in the final result.

modified the interior design of the

restrooms) have been located in order

courtyard.

A.S.

2. 5





2. 6

Ex-novo

127

Located on a steep slope, the

work. It houses the three storey

On the lowest floor, the audio-visual

valley consists of a ventilated

building was designed to be

museum and the big sphere of the

library occupies the entire surface

double glass wall supported by a

o.it

partially underground in order to

planetarium which is surrounded

of the building, connecting the

metal structure. Inside the building,

rin

minimize its visual impact and help

by a suspended ramp that provides

museum area to the planetarium in

multiple points of views are offered

dito

rio

it blend in with the beautiful hilly

additional exhibit space.

a large open-space.

by transparencies and a concept

landscape of the Turin Astronomical

Evoking astronomical geometries,

The interior space is brought to life

of fluid functional distribution

neta

Observatory area.

an elliptical terrace leads into

by a ‘spider glass’ cone that gives

gives rise to an unexpected and

plaw.

Infini.to was designed by architect

the entrance hall from which a

natural light across the storeys.

unpredictable ambience. This work

w

Loredana Dionigio - in collaboration

helicoidally stair takes visitors to

‘Spider glasses’ were used also to

received the Architetture Rivelate

w



with engineer Giancarlo Gonnet - as

the floors below, where the museum

build the entrance façade, while

prize from the OAT in 2007.

a dynamic and open architectural

and the educational itinerary are.

the lower façade towards to the

C.F.

M

2. 6

itinerary 3

This itinerary stretches south of the city centre taking in areas that have

renewal in the 1950s. At the time of its construction, the apartment hotel was undergone urban renovations.

considered as the most suitable to host the cosmopolitan exhibitors of the

The Land Use Plan (1987−95) foresaw the gradual covering up of the

adjacent exhibition centre.

railway lines that divided the city together with intensive renovation works in Reaching Via Nizza and crossing Piazza Giosuè Carducci, visitors will

the surroundings ex-industrial areas. The resulting axis, also known as Spina enter the Lingotto neighbourhood. This area used to be a farming suburb of Centrale, includes four districts from south to north named Spina 1, 2, 3 and 4.

the city that was significantly transformed from the end of the 19th century

Starting from the Thermal Power District Heating Plant (1) visitors will enter onwards, during the increasing industrialisation process of the city. The

the Spina 1 area, developed along Corso Mediterraneo. The former railway repair opening of the Lingotto FIAT car plant (1923) finally defined the spatial yards ( Officine Grandi Riparazioni - OGR) are located along this wide boulevard, organisation of this industrial district. The compounds were located on the

which is characterised by cycle paths, walkways and green areas. A Climbing

west side of Via Nizza, and a large number of working-class houses were

Sports Centre (2) (2008) was built in Via Paolo Braccini to accommodate the

built on the east side. From the second half of the 1980s the area underwent

indoor climbing-wall, previously located in the Palavela from the 1980s to the intensive renovation work due to the closure of the factories. FIAT Lingotto

2006 Olympic Winter Games.

was turned into a multifunctional centre (1983), the former Pastificio Italiano Facing Corso Mediterraneo, Santa Teresa di Gesù Bambino Church and its

became the AC Hotel (6) (2003−05) and the former Vermouth Carpano was 128

Parish Complex (3) is located on the edge of the residential Crocetta district. In reused to house the Eataly - Food and Wine Centre (7) (2004−07).

front of the church, the Igloo created by Mario Merz in 2002 marks the boulevard’s Turning left into Corso Eusebio Giambone, visitors will reach the urban

separation into two avenues. Taking the left-hand avenue, visitors will walk past a area selected in 1961 to host “Italia ‘61”, the exhibition complex to celebrate large residential and shopping block designed by Jean Nouvel (2001−09) on the the 100th anniversary of the unification of Italy. Among the buildings erected site that previously hosted the Materferro railway materials factory.

for this event, the Palavela - Sports Centre for Figure-Skating and Short Track Across Largo Orbassano, the avenue turns and runs along Clessidra park to

(8) stood out for its innovative design. The building was recently transformed Corso Filippo Turati. Here are some ex industrial buildings that were renovated in by Gae Aulenti and reused for the 2006 Winter Olympics. Shortly after

2010 to host the "Toolbox" - Torino Office Lab and Co-working Space (4).

the Palavela, visitors will reach the Palazzo del Lavoro, a Pier Luigi Nervi’s Crossing the railway, visitors will reach the Torino Esposizioni exhibition masterwork that is currently abandoned.

complex, built between 1936 and 1938 by Ettore Sottsass sr. and extended

When visitors have crossed Corso Pietro Maroncelli, they will be in an

two times by Pier Luigi Nervi (1968, 1950). Residence Du Parc (5, now Duparc

ex-industrial were the Fonderie Limone - Centre of Research on Theatrical Arts Contemporary Suites) apartment hotel is located just alongside Torino

(9) are. This complex is located in a pleasant leafy area on the banks of the Esposizioni in a stretch of Massimo d’Azeglio boulevard that sow its urban Sangone river, facing the hills of Turin. C.F., A.S.



1

3

2

Thermal Power District Heating Plant

3

1

Corso Francesco Ferrucci, 123 A

4

Climbing Sports Centre

2

5

Via Paolo Braccini, 18

Santa Teresa di Gesù Bambino Church and Parish Complex

3

Via Giovanni da Verazzano, 48

"Toolbox" - Torino Office Lab and Co-working Space

4

Via Agostino da Montefeltro, 2

6

129

7

Residence Du Parc, now Duparc Contemporary Suites

5

Corso Massimo D’Azeglio, 21

AC Hotel

6

Via Bisalta, 11

8

Eataly - Food and Wine Centre

7

Via Nizza, 30

Palavela - Sports Centre for Figure-Skating and Short Track

8

Via Ventimiglia, 145

Fonderie Limone - Centre of Research on Theatrical Arts

9

Via Pastrengo, 88 - Moncalieri (Torino)

9

3





3. 1g

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130

As part of the transformation and to the Polytechnic, but built

of brownfields in Turin, the

with no attention to the context. The

Spina 2 sector is among the most

masking was carried out with metal

successful urban sectors both

screens and a grid for lining the

lighting at night, dematerializing

projects in the difficult attempt to

for functional choices and for the

chimneys. The shields, consisting

the banal thermal power district

improve the quality of urban public

design of public spaces. Among

of diagonal bands of stainless steel,

heating building and creating an

spaces. Attempt late started by the

the elements of this quest for

denser at the bottom and more

attractive sight, which has become

Administration trying to control the

urban quality was the choice to

spaced out further up, curved and

a local landmark.

too rapid transformation of derelict

mask the cumbersome thermal

partially overlapping, appear light and

Marianne Buffi with her husband

brownfield sites. The project won in

power heating construction,

mobile. The steel reflects the light

Jean Pierre and their partner Hugh

the 2010 the Architecture Rivelate

functional to the neighbourhood

of the sun by day and the artificial

Dutton helped with this and other

prize from the OAT in 2010. G.M.

3. 1





3. 2

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131

The building is located near the all user and staff facilities. They

tensioned beams in laminated wood

features a bright orange colour.

Spina - north-south axis of the

added two inter-connected new

that is hinged to a single reinforced

The work has been considered

city’s redevelopment (1998−2010).

architectural bodies with different

concrete pillar and braced by the

outstanding architecture for its

It was commissioned by the Sports

heights in accordance with the

metal cylinder of the lift shaft.

advanced building and equipment

Division of the City to house the

height of the climbing-walls that

The exterior side facing the street

technologies such as ventilated

largest indoor public climbing-walls

had to be located indoors. The more

is entirely glazed, thus making the

walls and roofing, photovoltaic

in Italy (1,000 m² with 5,000 holds)

spectacular part of the building

climbers visible day and night. The

panels and low emission glass

and it has become a local landmark.

is 20 m high and houses the 18

roofing and part of the façades

curtain walls. In 2009 it won the

The architects in chief - Erica Ribetti

m climbing-wall for competitions.

are coated with grey zinc-titanium

Architetture Rivelate prize from the

and Silvia Zanetti - reused a former

It is shaped like a wedge with a

which evokes the colours of the

OAT.

municipal power station to house

structure made of a series of pre-

mountains, while the interior space

C.F.

3. 2





3. 3

Ex-novo

The new parish complex replaced

an earlier one built in 1932. The

church - topped by a crystalline

dome structure - and its high

solitary bell tower were designed

to become a local landmark in an

The architects in chief from Studio

132

area that was situated between a

Zuccotti (since 1951) - sister and

residential zone and an industrial

brother Giovanna Maria (1926

district.

−2004) and Gian Pio (1927) with

The church stands two and a half

his wife Maria Carla Lenti (1929) -

the main altar in the centre, thus

lack of decoration, as well as the

meters from ground level, above

succeeded in designing an innovative

emphasising the communitarian

dome’s exposed reinforced concrete

a crypt that was built in order

religious building thus anticipating

importance of the mass. The roof’s

structure and the use of sober

to support the foundations of a

the functional needs for the new

triangular geometry reminds the

materials such as facing bricks and

church. Access to parish annexes

liturgical guidelines laid down by the

visitor of the most spectacular

Luserna stone. In 2010, this work

was kept at the same level as the

Second Vatican Council (1962−65)

Baroque churches in Turin. Its

received the Architetture Rivelate

crypt, under the parvis, in order

immediately afterwards. The church

formal appearance is both modern

prize from the OAT.

for the church to stand out more.

has a polygonal central plan with

and unconventional due to the

C.F.

3. 3





3. 4 n

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Toolbox is situated in a semi-

space available for professionals

socialization and relax with spaces

climatic, visual and sound proofing

central area of the city next

in different fields. There are

for privacy and concentration. A

requirements. The result is a very

to the rapidly changing San

forty-four individual workstations

variety of the solutions is obtained

flexible space allowing an almost

Salvario neighborhood. It is a

with additional facilities. The

by using an adaptable component

limitless number of configuration.

co-working space located in a

main open-space area is divided

model, a single system developing

Through an automated system for

former manufacturing building

lengthwise by some technical and

an infinite range of possibilities

the control of lighting, access and

near the railway line. The project

functional compartments. The

and different configurations. Each

use of facilities each professional

is conceived as a professional

main idea of the project was to

compartment is identified by the

can design his personal profile,

incubator and it is designed to deal

mediate between the plurality of

use of different materials - cork,

according to his needs. The project

with the needs of a new generation

users’ needs and the coherence of

rubber, gloss paint - according to

won the Architetture Rivelate prize

of free-lancers. It consists in a

the design, combining spaces for

its specific function as well as its

in 2012. C.S., A.S.

3. 4





3. 5n

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134

This tall modern building is

combining the functionality of Italian

with light-filled rooms thanks to the

extraordinary collection of modern

situated near the Po river

Rationalism with the expressiveness

wall-windows giving exceptional

and contemporary works of art,

and next to the mid-19th century

of Brutalism in an original composition

views of Turin’s hills. The hall and

including masterpieces by Arte Povera

Valentino park. Built in 1971 by the

that is still unique today.

original apartments were designed

artists.

architects Laura Petrazzini (Turin,

The plan and façades were designed

to hold outstanding works of art and

In 2002 Laura Petrazzini was included

1931−86) in collaboration with

on an orthogonal grid based on a

furniture design from the sixties and

in the Albo d’Onore del Novecento

.com

her husband Corrado Levi (Turin,

square module of 90 cm. The façade

early 1970s.

(Honour Roll of the 20th century)

ites

1936), the Residence Du Parc has

is defined as an overlap of layers

In 2014 the apartment hotel was

and in 2007 the Residence Du Parc

always been considered prominent

in which the primary elements are

converted into a luxury apartment

received the Architetture Rivelate prize

contemporary architecture in Turin.

exposed reinforced concrete panels.

building, with a new restaurant

from the OAT.

.duparcsu

Here the architects succeeded in

Inside there are large open spaces,

and an oriental spa. It hosts an

C.F.

www



3. 5





3. 6

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135

The AC Hotel is located in a

became property of the adjacent

to preserve the original features

common areas - lounge, restaurant

former industrial district of

Vermouth Carpano factory. In 1996

of the building by underlining its

and relaxation areas - are located.

the city. The original building was

the company moved to Milan and

clear lines. The building consists

Here, the wide open-space area has

designed in 1908 by engineer

the factory complex was left vacant.

of a four-storey block with white

been divided with light partitioning

Angelo Santonè to host a pasta

A proposal for the reuse of the

façades characterized by a series

walls, in order to emphasize the

factory. It was one of the first

building was approved according to

of vaulted windows. A two-storey

characteristic concrete structure.

industrial building in Turin to be

the 2003 urban plan. The renovation

addition was designed in 1921 by

The series of large windows create

built with reinforced concrete pillars

project was designed by Negozio

engineer Pietro Gambetta and now

a space full of light, that opens onto

and beams. After the damages

Blu Architetti Associati and the

hosts the reception and the hall.

an internal courtyard with a garden

caused during the Second World

AC Hotel was opened in 2005.

These spaces lead to the main

by the architect Francesca Bagliani.

War, the building was restored and

The architects’ main idea was

building’s ground floor, where the

E.G.

3. 6





3. 7 nionesigtensr d

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136

The food and wine centre Eataly The FIAT Lingotto factory was turned interior, characterized by a series conference room and the Carpano is located in a peripheral area

into a multifunctional centre (1982),

of buildings linked by a system of

Museum. An additional light steel

characterized by a series of former

the former pasta factory building

internal courtyards, squares and

and glass structure covers the central

industrial buildings dating from the

was transformed into the AC Hotel

walkways, has been preserved

passage and underlines the original

early 20th century: the FIAT Lingotto

(2003−05) and the former Vermouth

and emphasised. It recalls an

buildings façades, characterized by

car factory (1915−26), a pasta

Carpano complex was reused to

urban space with market stalls

red bricks and yellow-painted pillars

factory (1908−21) and the Vermouth

house the multifunctional centre of

for food tasting and buying. There

and beams.

net

Carpano liqueur company complex

Eataly (2004−07).

are different levels, with various

The facing outdoor area is a large

(1900−47). From the second half

The main entrance has been

thematic areas. Further facilities

public pedestrian square, designed

eataly.

of the 1980s the area underwent

opened into the long red-painted

have been added such as didactic

by the landscape architect Francesca

w.w

some important transformations.

wall facing the Lingotto factory. The

and exposition areas, a library, a

Bagliani. E.G.

w



3. 7





3. 8

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137

The Exhibition Palace named

Franco Levi, passing from a triangular

and indoor sporting activities.

is an efficient building for sports

‘Palavela’ was built in 1960

plan to a hexagonal one, with three

For the 2006 Winter Olympics

ice characterized by a septum in

and designed by Annibale and

cantilever edges. The double shell,

the City Council decided to make

reinforced concrete, coloured red,

o.it

Giorgio Rigotti as the Ente Moda

connected by thin ribs and resting on

it the hub of activities related to

with 9300 seats.

rin

headquarters. Incorporated in the

three points, constitutes a covered

indoor winter sports. The project,

Gae Aulenti, an internationally

plan of "Italia ‘61 " , it was designed to

area of 15,000 m

velato

2, with a maximum

awarded to Gae Aulenti through

renowned architect known for her

celebrate the 100th anniversary of the

height of 29 m, held up by huge

an international competition,

work as a modern designer and

palaw.

unification of Italy. It has the structure

windows, a work of high engineering.

involved the construction of a

for major urban interventions and

w

designed by Nicola Esquillan for the

The building, whose ownership

new entirely independent building,

museum installations, here confirmed

w



pavilion of CNIT in Paris and further

passed to the City of Turin, was

which is underneath the preserved

her free and independent spirit.

developed with the collaboration of

used over time for exhibitions

and restored vault. The outcome

G.M.

3. 8





3. 9 n ionesigtensr d

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138

Located in a former industrial

The project was conceived by

laid out following an almost

uniformity, changing by day and

district in the Turin metropolitan

Marina Gariboldi, who began the

deconstructivist approach. The

night, when blue and pink lights

area, the Limone foundries

renovation and extension of the

theatre fly tower outline follows an

there are. The memory of the

worked metals from the 1950s

original building in 1996 with a

axis which branches off from the

building’s industrial past is shown

to their closure in 1970. With the

group of architects. The centre of

original one, creating a focal point

in a small ‘galleria della memoria’

new approach to conserving old

research on theatrical arts houses

which is rotated with respect to the

(memory gallery) which testimonies

manufacturing buildings and the

two theatres, laboratories, some

whole building. The external wall

the manufacturing period with the

culture of industrial archaeology,

offices and a school. Both the old

is parallel to the street and there is

restored chimney and the preserved

the Moncalieri urban design plan

and the new parts of the complex

a section opened into an internal

core of the former factory used as the

earmarked the complex as a cultural

are characterised by corrugated

courtyard. A light installation by

starting point of a footpath through

centre of metropolitan impact.

aluminium panels and they are

Marco Gastini breaks the façade

the garden. E.D.

M

3. 9





pioneer

soon well integrated in the artistic milieu of the time, although it was

still almost exclusively male. In 1936, she took part in the VI Triennale di Milano exhibiting some carpets together with architect Ettore Sottsass sr.

(1892−1953) and she won awards for the design of a tapestry and a set of

O

coffee cups.

ne of the first women to work as a professional

Ada Bursi graduated in architecture in 1939 from the School of

architect in Turin was Ada Bursi (Verona, 1906 -

Architecture of the Royal Turin Polytechnic, where she was the only woman

Castiglione Torinese, 1996). When she was a girl, she

in her class. She was the second woman to graduate in Architecture in Turin,

moved from Verona to Turin with her family and attended

the first was Giuseppa Audisio (graduated in 1930) although she never

a girls’ only school. In the late 1920s she attended Felice

practiced as an architect. After having passed the State exam to become

Casorati’s (1883−1963) school of painting and, influenced

139

a professional architect, on 24 October 1940 Bursi was the first women to

by her friendship with painter Mino Rosso (1904−63), she

became a member of Order of Architects of Turin.

completed some graphic works in futurist style.

Ada Bursi (around 1935)

The same year, she was a volunteer assistant at the Polytechnic for

In 1929, Bursi’s tempera drawings of linoleum

courses of Architectural

floorings, that she had done for the Modernist architect Giuseppe Pagano

Composition

(1896−1945), were published in the specialised magazine La Casa bella (8: and Elements of

44−46). Artistic skills led her to finding work in advertising graphics, in fact she Architecture and Survey

worked for Avigdor’s fabrics in 1929, Gancia’s spumante in 1930, and in 1946 she of Monuments. Not

designed a poster for the Exhibition of Mechanics held in Turin the same year. For believing she could

the City of Turin, she continued to work on graphic advertisements in Via Roma have a future academic

(the high street in Turin) up to 1954, as well as Porta Nuova (the Central train career, which was still

station).

the privilege of men, she

In 1933, Bursi became a member of the national Fascist party and

looked for employment

the same year exhibited her paintings with the group of Futurists at the

in Turin’s public

Amedeo Albertini, Ada Bursi, Gino Becker, Competition for the

5th Regional Exhibition of the Fascist syndicate of fine arts. She was

administration and

Cemetery to the Fallen for the liberation of Turin, second prize





in 1941 she was hired in the City’s technical office

on the hill of Turin. In the late

where she worked until 1971.

1940s, once again she showed

At the end of 1945, Bursi was the only woman

her artistic creativity by designing

among the 26 founders of the Gruppo di Architetti

some furniture reminiscent of

Moderni Torinesi “Giuseppe Pagano” (Modern

abstract painting and sculpture.

architects group in Turin). One year later and together

In the City Office, Bursi designed

with her colleague architects, Amedeo Albertini

social housing buildings and several

(1916−82) and Gino Becker (1913−71), she worked

school buildings. In 1954, she

Ada Bursi, School complex in Via Duino,

as a furniture designer making a series of modular

contributed to the design of the

Turin 1968−70

furniture for the Exhibition of furniture by architects

“Piccolo Torino” nursery school.

and craftsmen of Piedmont. This exhibition was held

There she studied the terracotta decoration that surrounds the facades and

Ada Bursi, Portmanteau

in Turin at the Pro Cultura Femminile association

decoration of the entrance hall, thus demonstrating her artistic sensitivity and skills of satin brass with securit

(which was set up to promote women). The modular

as chief architect on the building site of the entrance hall.

glass top

furniture was designed to be mass produced and

It wasn’t until the end of the 1960s that Bursi was officially entrusted with contributed to new life styles; architects wanted to express a new freedom

the planning of an entire school complex (1968−70) which was in a working

140

at home. Bursi later played a part in supporting women’s professional

class suburb, between the FIAT factories of Lingotto and Mirafiori. There, emancipation by becoming one of the first members of the Italian Association

the architect applied her experience to the building which is distinguished

of Women Engineers and Architects ( Associazione Italiana Donne Architetto e by the relationship between the indoor and outdoor spaces. She designed

Ingegnere - AIDIA) founded in Turin, 26 January 1957.

four main wings which she built parallel to each other on the access road.

While working in the City’s technical office in 1946, Ada Bursi also

They are interspersed with large green areas and a garden which are used for

participated - together with architects

outdoor activities and connected with other buildings at the back via covered Albertini and Becker - in a competition to

walkways. New technologies characterised the design of the brick work

design a cemetery for those fallen during

facades: window frames were made out of aluminium.

the liberation of Turin. The project, anti-

Bursi worked as a professional architect during the reconstruction of post-

monumental and metaphysic won second

war Turin, when the number of architette (women architects) started to rise:

prize. Shortly after, Bursi won first prize for

there were 43 women architects in 1961 in Turin out of a total of 306. She was the design of the Cavoretto cemetery, located

also involved in the urban growth of the 1970s with some projects of urban

design and restoration, until she left the Order of Architects in 1975 and retired.

Ada Bursi, Nursery school “Piccolo Torino”,

Via Giacinto Collegno 73, Turin 1954



THE NETHERLANDS



THE NETHERLANDS

The Netherlands is often regarded as a very Modernist country.

Although there is some truth in this, it is also an idealised view.

1947 and 1954 and constructed between 1954 and 1964. It is famous

While there are many fine Modernist-Functionalist buildings throughout

for its extremely Functionalist-Modernist layout and design, which can

the country, there are just as many pre-1945 buildings in traditional

still be fully experienced today. It had pre-fab and flat-roofed houses for

vernacular and Gothic-related styles. Of the Modernist-Functionalist

land workers and shop owners. The layout of the houses, community

buildings some are located in the big cities, and will be discussed

buildings such as churches and green areas were all planned as one

hereafter, and some are in villages in the countryside. Many Modernist

integrated design, signifying the unity of equality through highly abstract

bungalows from the 1950s and 1960s were built in rural areas. Post-

architecture without referring to any past devices or styles. There is a

1945 architecture is generally Functionalist-Modernist with many local

museum about the architecture in the former Catholic church; please

varieties. After the late 1970s, Expressionist and Postmodernist buildings

142

entered the architectural landscape and discussion.

Dirk Roosendaal, Electrical pumping station for the

In addition to those buildings designed by women architects which

Wieringmermeerpolder, 1928−30

will be described below, it is worth mentioning two other stylistic

landmarks which relate to the characteristic geography of the water

management of the western part of this small country, but which are

located further away from the main cities. Both examples have the status

of national monuments. The first building is the electrical pumping

station Lely at Medemblik, designed by architect Dirk Roosendaal of

1928−30 in a striking Art Deco style. It served in the draining of the new

Wieringermeerpolder to below sea level. And, 75 km south-east across

the IJsselmeer (former Zuider-Sea), is the striking modernist village of

Nagele which was one of the first settlements in the newly drained polder

called "Noordoostpolder". The village of Nagele was designed between



check for opening hours. In Nagele, the burial ground with garden is one

of Mien Ruys’s earliest designs. She became one of the most well-known

Dutch landscape architects between 1930 and 1980 and often worked

with functionalist architects. She was self-taught in garden design but did

attend a School for Decorative Art in Amsterdam. She also contributed to

some of the housing blocks in Nagele by Lotte Stam Beese.

The number of practicing female architects grew after the late 1980s

and today buildings found throughout the country were constructed by

women architects. An important part of these buildings are commissions

for schools, social housing, and buildings for care and well-being.

Since the beginning of the 20th century, the Netherlands have had a

powerful governmental policy on social housing in larger cities such

as Amsterdam, Rotterdam, The Hague and more: this policy aimed to

143

improve the living conditions of lower classes in the expanding cities.

Over time, the policy has become standard and until today has also

permitted both the concept and realization of housing quarters and

blocks in many smaller towns as well. The building demands are quite

specific and must meet the needs of inhabitants who nearly always are

Mien Ruys, Garden of the burial ground in Nagele, 1954

involved in the building process.

itinerary 1

another example of new Urban Social Housing Block (6) from 1992.

Amsterdam, the capital of the Netherlands, is famous for the layout

To the north of Amsterdam is Zaandam, a town only 10 minutes by train

of the 17th century canals, a UNESCO World Heritage: it also has a

from Amsterdam. You will find recent postmodern eclectic architecture for

rich heritage of 20th century buildings with fine examples of International

which the town attracted a lot of attention. This architecture, part of which Modernism as well as important Amsterdam School Expressionist social

offers Five Shops on Stadhuisplein above the Provincial Road (8) designed

housing blocks. Amsterdam has an Academy of Construction (Academie

by architects Mieke Bosse and Peter Drijver, is inspired by the architectural van Bouwkunst), founded in 1908 and one of the main centres of Amsterdam

language of the town’s industrial and commercial past. The complex connects

School architecture in the 1910s. This itinerary aims to showcase buildings

the main train station of the town with the town centre. The architecture

representing the various typologies and styles of architecture in and near

features a palette of green colours used to paint old houses, together with the Amsterdam from between 1918 and today.

white gable contours so typical of Dutch town houses of both Amsterdam and

To the south of the city is Amsterdam Schiphol airport, an important transit

the North-Holland province. It is worth a visit to just walk into the town hall, airport for intercontinental flights. It is celebrated as a fine example of layout which is part of the new complex. The town of Zaandam has been recognised

and planning of the complicated routing that today’s airports need, and you

as one of the first early industrial areas in Europe: the open-air museum,

144

may enjoy viewing the splendid new Hilton Amsterdam Airport Schiphol (1)

Zaanse Schans, with picturesque 17th century Dutch trade houses and shops

by Mecanoo. Another area at the city borders that you can easily reach from still demonstrates some of the town’s past activities. Situated in the polder there is the main Amsterdam Forest (2), for which Jakoba Mulder designed

countryside, this scenic museum is certainly worth a visit.

the layout. The “Red Potato” - as the impressive VU University (3) building by Continue your journey by train on the same track from Zaandam further

Jeanne Dekkers is known - is located not far from the airport and very close

north to Alkmaar (30 minutes); take bus no. 6 from the main train station to

to Amsterdam Zuid train station in an emerging business district. In the south-the village of Bergen. This village has attracted writers, painters and architects eastern part of the city, Mulder designed a Swimming-Playing Pool (4) in 1938, since the early 1900s. It is located in the countryside near the North Sea and redesigned in 1960.

has beautiful dunes as well as small forests for walking; in the summer, you

Going into the town to the former old trade-port of Amsterdam you will

can enjoy the beach of Bergen aan Zee. The village has Country Villas (9) and find a later example: a very fine renovation work of the Dutch National Shipping a bridge dating back to the first decades of the 20th century, in particular from Museum (5) from 2007−11 by Liesbeth Van der Pol. Not too far from there

the Expressionist Amsterdam School-style; three of these are by Margaret

is an impressive Urban Housing Block: Water Dwellings Steigereiland (7)

Kropholler, the pioneer woman architect of the Netherlands. There is also a

by Marlies Rohmer, developed on one of the newly developed islands as a

nice old church and the Kranenburgh Museum with paintings of the so-called

fashionable living area during the 1990s. It is interesting to compare this to Expressionist Bergen School. M.G.



1

9

Hilton Amsterdam Airport Schiphol

1

Schiphol Blv.: Evert van de Beekstraat 202, 1118 CP - Schiphol

Amsterdam Forest

2

Bosbaan, Koenenkade - Amsterdam

VU University

3

De Boelelaan, 1109 - Amsterdam

Swimming-Playing Pool

145

4

Beatrixpark - Diepenbrockstraat - Amsterdam

Dutch National Shipping Museum

5

Kattenburgerplein, 1 - Amsterdam

Urban Social Housing Block

8

6

Corner Pieter Vlamingstraat and Pontanusstraat - Amsterdam

Urban Housing Block: Water Dwellings Steigereiland

7

IJburglaan corner with Haringbuisdijk, Steigereiland - Amsterdam

Five Shops on Stadhuisplein above the Provincial Road

8

5

Stadhuisplein, 78-88 - Zaandam

6

7

Country Villas

4

9

Meerwijklaan, 5 and 7 - Bergen

2

3

1

1





1. 1

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ovo esig

Ex-n r drio

and inte

146



The recent Hilton hotel complex on Boulevard due to its curved cubic

daylight deep into the building through

Netherlands, including the Royal

nds/

this huge airport complex stands

structure and regular diagonal façade

circular white balustrades.

Concertgebouw, skyboxes in the

rla

chiphol

out as one of the latest creations of

pattern, formed by lozenge-shaped

The hotel’s interior design was overseen Amsterdam Arena football stadium

ethe

the firm Mecanoo directed by - among

window panes and composite panels

by interior architect Evelyne Merkx and

and Amsterdam Central Station.

port-s

others - Francine Houben. This building

in grey and white. This distinctive

hospitality design company Hirsch

In the Hilton main atrium hall, the

was designed by Ellen van der Wal and

exterior immediately catches the eye of

Bedner Associates. Evelyne Merkx’

characteristic round city center plan

n/hotels/n

Francine Houben.

flight passengers landing at Schiphol

Amsterdam-based studio Merk X has

of Amsterdam and its main canals

rdam-air

ste

Mecanoo’s Hilton Hotel contrasts

Airport. Guests are welcomed to the

been responsible for interior design

features as a decorative element above

com/e

m

n.

strikingly with the orthogonally

hotel in a spacious atrium topped by

concepts and renovations in many

the reception desk and as separation

n-a

designed buildings on Schiphol

a 42-metre-high glazed roof, reflecting

prominent buildings throughout the

panels in the seating area. M.E.

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new-hilto

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1. 1





1. 2

ign

des

Landscape

147

In the 1930s, the Amsterdam

Covering 1000 hectares,

which had left 55,000 citizens

her career at the municipality of

Forest was designed in the urban

Amsterdam Forest is three times

unemployed. The forestation of

Amsterdam where she eventually

.nl

development of the Amsterdam

the size of Central Park in New York.

the Amsterdam Forest served as a

became Head of City Planning. The

bos

suburb to the south and today it has

Its woodland park was intended to

work relief programme by providing

Amsterdam Forest was one of her

become a full-grown forest park. It

be used by all levels of Amsterdam

employment for 20,000 people.

first assignments and is still her

has many recreation sites, theatre

society - not just for Sunday strolls,

Ko Mulder belonged to the first

most well-known contribution to

terdamse

spaces as well as the Bosbaan

but also for sports, relaxation

generation of urban architects in

Amsterdam’s cityscape. A majestic

.ams

rowing canal. The forest is inspired

and recreational activities. At

Amsterdam. Graduating as a civil

tulip tree was planted at the edge

by English landscape designs, with

the time of its construction,

engineer from the Technical College

of the forest in her honour, near the

www



rolling meadows, twisty forest trails

Amsterdam was suffering the

of Delft (now Delft University of

entrance at the Nieuwe Kalfjeslaan.

and streams.

effects of the Great Depression,

Technology), she spent most of

M.E.

1. 2



1. 3

T

Ex-novo

he building, nicknamed 'de rode

University Eindhoven in 2010. In

pieper' ('the red potato'), is the

2000, she designed the Historical

Institute for Care and Wellbeing of

Museum in Venlo, in the southern

the VU University in Amsterdam.

part of the Netherlands; other

The façade is made out of brick and

projects include a police office in

has round-shaped and curved walls,

Nijmegen (South-Brabant), town

reflecting the Amsterdam School

hall and offices in Beverwijk (North-

style of the 1920s. The many large

Holland), and Deltares in Delft

vertical windows in the building

(2013).

allow a transparency and lightness

This building for VU University

to pass through to the interior which

Amsterdam revives the brickwork

148

was also designed by Dekker, with

architecture and wavy lines which

seven, different-coloured floors and

characterised anti-rationalist and

a special 'floating' lecture hall.

expressionist Amsterdam School

Jeanne Dekkers was educated

architecture of the 1910s and

at the Technical University in

1920s. Adding to the recent revival

Eindhoven. She worked for EGM

of this style, the recent Sports-hall

Architects and became a board

block (2010−15) at Violenstraat in

member in 1988 before establishing

the northern town (and Province) of

n/

her own studio, Jeanne Dekkers

Groningen by Marlies Rohmer is an

nl/evu.

Architecture. She was appointed the

equally interesting example.

alw.

role of professor at the Technical

M.G.

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1. 3





1. 4

Ex-novo

149

Mulder’s 'Pierebadje' - a shallow named after the new-born crown

The current pool is one of Mulder’s

('playing ponds') most attractive

nl

pool for children who have

princess Beatrix who would later

later designs.

and said “What could be more

park.

not yet learned how to swim - is

become Queen of the Netherlands.

Before the Second World War there

pleasant for children, than sun, light

hidden amongst the greenery of the

The park was built in the late

had been no public playground

and water?” Amsterdam’s citizens

atrix

Beatrixpark. On warm summer days,

1930s in a then recently developed

areas for children in the city of

today still share her vision. In 2006,

it never fails to attract Amsterdam’s

neighbourhood of Amsterdam

Amsterdam. Although not a mother

her playing pool in the Beatrixpark

ndenbe

youngest residents and their

to the south. Her original design

herself, Mulder was concerned

was chosen as Best 'Pierebadje'

vriew.

parents. The pool is filled when

included a kidney-shaped pool with

with the welfare of children and

in Amsterdam by newspaper Het

ww

outside temperatures reach 21°C.

a concrete pergola, which was

initiated the construction of several

Parool.

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Mulder had been chiefly responsible

demolished in 1958 to make room

playground areas in the late 1940s.

M.E.

for the design of the Beatrixpark,

for the Amsterdam RAI complex.

Mulder found swimming pools

1. 4





1. 5

ign

and

tion t des se

enovaR

museum

150

This monument in fine Dutch-

renovate the building. The renovation

sun sets at the end of the day.

FIABCI Prix d’excellence in the

classicist style was built in 1656

included a new roof covering the

Van der Pol also designed the

category Public Infrastructure. Today,

.nl

by Daniel Stalpaert as a warehouse

courtyard of the 17th century

interior and made adjustments

the museum building honours the

and munitions house for the

munitions depot. This roof (designed

in the floor plan in order to create

work of Daniel Stalpaert, but also fits

Amsterdam Admiralty. In 1973, the

by Laurent Ney) is made out of steel,

larger exhibition spaces and a clear

modern times. The Museum Library

tmuseum

Dutch National Shipping Museum

1,200 pieces of glass and 868 lights

orientation for visitors. In 2012,

owns one of the most important

settled here. In 2005, the organisation

and is inspired by compass lines that

the renovated museum building

maritime history collections in the

heepvaar

of the museum asked Liesbeth Van

are used in historical nautical maps.

was awarded with the Amsterdam

world.

der Pol to make a masterplan to

The lights change colour when the

Architecture Prize and won the

M.G.

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1. 5





1. 6

Ex-novo

This urban social housing

block in the eastern part of

Amsterdam was one of Van der

Pol first projects and is built on

the corner of two existing streets.

The block consists of two separate

volumes, separated by a narrow

opening containing staircases.

The distinctive character of both

151

buildings is emphasized by their

difference in height and the

materials used for both façades.

Van der Pol finds it important

to give urban social housing a

friendly atmosphere and individual

character, which this housing block

reflects. The apartments in the

housing block very flexible.

atelier merged with Blue Architects

position in the Netherlands. When

longer volume are designed with

Liesbeth Van der Pol started

Amsterdam, into the Amsterdam-

Van der Pol won the Rotterdam-

sliding walls and can be divided

an architectural studio in 1989

based Dok Architects. Currently,

Maaskant Prize for Young

into two, three or four rooms. Each

after graduating from TU Delft.

she is one of its directors. She

Architects in 1993, her work on

new owner of these apartments

In 1995, she launched the studio

was also the Chief Government

this housing block was particularly

can choose how many rooms they

Atelier Zeinstra Van der Pol with

Architect between 2008 and

praised.

would like to have. This makes the

Herman Zeinstra. In 2007, the

2011, the first woman to hold this

M.E.

1. 6





1. 7

Ex-novo

152

This is a compact urban district with platform homes in the inland

his home, depending on whether

pylons above the dike on the edge of

a density of 60 homes per hectare.

waterways. The floating homes

he wishes an open view or some

the basin, to be developed in much

The project was made up of 75

are accessed from the jetties.

privacy. Other options include the

the same way as the floating homes.

floating and dike houses for the social

The allotment has a triangular

addition of extensions (through

The floating homes are supported

rental sector, the low and high-end

structure, while the basin is cut

a pre-designed package), and

by concrete 'tubs' submerged into

private housing sector. It also shows

diagonally by suspended power

sunrooms, verandas, floating

the water to a half-storey depth.

how Dutch housing policies determine

lines giving the jetties a seemingly

terraces, awnings can also be

A lightweight supporting steel

the architecture of city areas.

detached informal layout with

attached to this skeleton frame.

construction on top can be filled with

Water, banks and jetties form the

varying distances between the water

The architecture and construction

glazing and brightly coloured plastic

framework of this Island of two

dwellings and their orientation.

systems are different for the dike

panelling.

neighbourhoods with floating and

The occupant can alter the view of

homes, which are suspended on

M.G.

1. 7



1. 8

Ex-novo

Mieke Bosse and Peter Drijver

of SCALA architects designed

five shops on a bridge above the

Provincial road in the city of Zaandam.

These shops, co-designed by Barbara

Wieland and Jean-Paul van Alten,

153

were built as part of the large urban

redevelopment project "Indervan",

in which architect Sjoerd Soeters

intended to connect both sides of the

old canal. To achieve this, Soeters

designed two bridges above the

Provincial roadway and the Railway

by local traditional wooden houses

Known for their critical attitude

rather than function as individual

Station.

in various shades of green and

towards Modernism, Bosse and

entities that stand out drastically

Mieke Bosse and Peter Drijver

white paint, typical in the 17th

Drijver strive for a seamless fit

from their context. This often

designed the shop buildings on one

century but here given a Postmodern

between architectural design and

leads SCALA architects back to old

of these bridges and used the same

configuration. The houses are in

existing cultural identity. Renovations

techniques and architectural styles.

style that Sjoerd Soeters used for

different shapes and sizes assembled

and new buildings should, per their

A love for classical proportions and

the new Town Hall and surrounding

as building blocks, all together

approach, resonate organically within

traditional craftsmanship is given

streets. These buildings are inspired

creating an attractive façade.

their architectural environment,

space in the Zaandam project. M.E.

1. 8





1. 9

Ex-novo

These three villas are part of a

residential park designed by

Amsterdam School architects, Park

Meerwijk. This park in the village of

Bergen was developed during First

World War by Arnold Heystee, who

commissioned five architect friends

from Amsterdam to design a total of

seventeen villas. Margaret Kropholler,

the only practicing female architect

154

of the time, designed three: the

mirrored double villa ‘Meezennest’

which focusses on the expression

(Tit nest) and ‘Meerlhuis’ (Blackbird

of emotion in form, in which they

house) (number 5 and 7); and a

oppose a masculine rationalism of

single villa named ‘De Beukenhoek’

abstraction, which would become

(The Beech Corner). She also

normal practice after c. 1925.

and chutes were similarly intended

Even the alcoves in the corner of the

designed a brickwork bridge near

As Kropholler meant for architecture

to spare women unnecessary effort.

façades can be stocked with bird seed

the villapark. Kropholler’s villas are a

to optimize the efficiency of women’s

Modern appliances such as gas

from inside the house. After all, who

testimony to the Amsterdam School’s

domestic work, windows are

stoves replaced the less hygienic

would want women to “degenerate

expressionism in their plasticity

undivided by cross bars so as to

and user-friendly coal furnaces

to overworked, irritable household

and characteristic masonry work,

reduce tiring house-cleaning. Hatches

common in contemporary kitchens.

drudges?” M.E.

1. 9

itinerary 2

T

the Pendrecht Urban Social Housing Area (1) and Ommoord Urban Social Housing

he two cities of Rotterdam and The Hague, situated in the mid-west of the

Complex (4), which were built in the 1950s. Although these quarters have been in Netherlands in the province of South-Holland, are only 20 minutes apart. The

the process of re-structuring and re-designing since the early 2000s because they cities are very different from each other. Before touring around, buy the Rotterdam no longer meet the needs of today’s inhabitants and city population, some parts day transport card+Museum at the Central Station Tourist Information: vouchers are still as they were originally designed. You can compare the changes in style include a discount to the Boijmans Van Beuningen Museum in Rotterdam.

of social housing architecture for which the Netherlands are renowned by visiting Rotterdam-Delft and The Hague are also connected by Randstadrail-trams; you

a series of houses – “Periscope" Houses (5) designed by Joke Vos. Closer to the may include Delft in this trip as well.

city centre, you’ll find the design of a clothes rack: the "Merry-Go-Round" Wardrobe Rotterdam is one of the largest seaports in the world and a city for commerce (2) for Museum Boijmans van Beuningen as well as the spectacular Market Hall

and businesses. It has an important reputation for Modernist and contemporary Ceiling Painting (3), a much reclaimed building.

architecture. Around 1930, Modernist-Functionalist buildings marked the industrial The Hague is the city where the Dutch government resides and is known

155

and business sphere of the city, and the Van Nelle factory at the outskirts of for its diplomatic and governmental services. One of the oldest buildings of

the city has been internationally recognised as one of the key monuments of

governmental nature is the 14th century Knights Hall. This was initially restored Functionalism today, built in 1933 for a tobacco, tea and coffee factory. Other key around 1900 in a neo-Gothic style, and then in 2005–06 when the interior was

monuments for modernist housing are some villas for the factory directors. A few embellished with a carpet and wall tapestries by designers Marya Gasille and

are located at Kralingse Plas and one has been reconstructed to its original state Liesbeth Stinissen (Ridderzaal complex Grafelijke zalen Binnenhof, Den Haag).

of 1933, with its original interior, and turned into a museum-villa near the Museum The Hall serves as ceremonial place for the Dutch parliament and the Royals.

Boymans van Beuningen. It is open to the public and it is surprising to see how The Hague also has some remarkable early buildings by male architects. Two of colourful the interiors of some modernist buildings were. The building of Museum these are the housing quarter Papaverhof by Jan Wils from 1922 inspired by De Boymans van Beuningen shows a return to traditional architectural styles in the Stijl, and the so-called Nirvana flat building from 1929 (Benoordenhoutseweg/

1930s. The city centre of Rotterdam was heavily bombed in the Second World War; Willem Witsenplein/Van Alkemadelaan, by Jan Duiker and Jan Gerko Wiebenga),

another of its very fine pre-war modernist buildings - the department store of the which was an early experiment in cooperative living following the communist

Bijenkorf by Willem Dudok - was lost.

ideal. There are some fine examples of schools by female architects in The

After 1945, the city had to reconstruct many houses and public buildings. In

Hague, and you can view two of them: "Het Spectrum" Primary School (6) and this so-called ‘reconstruction’ (re-building), a huge contribution was made by one Wateringse Veld College (7). More prestigious contemporary architecture can be female architect in particular: Lotte Stam Beese. She was largely responsible for found in the area around Central Station. M. G.



itinerary 2

Pendrecht Urban Social Housing Area

Ommoord Urban Social Housing Complex

1

Pendrecht - Rotterdam

4

Zernikeplaats, Ommoord - Rotterdam

"Periscope" Houses

"Merry-Go-Round" Wardrobe - Museum Boijmans

5

2

Marinus van Elswijkkade, 2−24 - Rotterdam

Van Beuningen - Museumpark, 18-20 - Rotterdam

"Het Spectrum" Primary School

Market Hall Ceiling Painting

6

Terwestenstraat, 105 - Den Haag

3

Ds. Jan Scharpstraat 298 3011 GZ - Rotterdam

156

Wateringse Veld College

7

Missouri, 1 - Den Haag

6

Den Haag

7



5

4

157

3

2

Rotterdam

1

2





2. 1

Ex-novo

158

The social housing area of

areas are complemented by a

Each cluster consists of a four-

buildings, where residents would

Pendrecht, built on Rotterdam’s

main shopping centre, as well as

storied block, a three-storied

meet throughout the course of

southern rim during the post-1945

several smaller retail areas, schools

block and two low-rise blocks

their daily routines. Stam Beese’s

reconstruction, is considered Lotte

and green zones. There are 6,300

surrounding a communal garden.

programme of clustered living units

Stam Beese’s most significant

dwellings, organised over four

The architectural design of each

was unprecedented and influential in

architectural contribution.

neighbourhoods concentrated

block was tailor-made for the needs

post-war urban design programmes.

Constructed to house workers

around a traffic-free square.

of a particular group of residents

More than sixty years after its

at the nearby docks, Pendrecht’s

Central to each neighbourhood are

- families, single dwellers and

completion, Pendrecht is undergoing

geometrical woven grid consists

the so-called wooneenheden (living

seniors. Interaction between this

drastic redevelopments to outgrow its

of functionalist living units linked

clusters), influenced by the planning

demographic mix was encouraged

reputation as an impoverished low-

in a mirroring design. Residential

ideologies of the CIAM association.

by the open social spaces between

income area. M.G.

2. 1





2. 2n

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Rotterdam’s art Museum, Boijmans

van Beuningen, invited a group

Inte

of local designers to redesign its

entrance hall in 2007. As part of the

collective Haunting Dogs Full of Grace

that was formed for the occasion,

designer Wieki Somers and her

partner Dylan van den Berg created

159

an arresting new coatrack installation.

Their creation won the award for Best

Dutch Design in 2009.

The "Merry-Go-Round" wardrobe was

A carrousel-like coatrack rotating on

designed according to the principles

its own axis, the "Merry-Go-Round"

of old miners’ coatracks. Before

wardrobe operates in a similar way.

descending into the mines, workers

Coats are stalled on clothes hangers

n/

would change into their uniforms on

and pulled up by a cable system,

and artistic installation. Bags can be

of the directors of the Van Nelle

nl/e

site and use a chain system to store

making for a lively scene among

stowed away in the adjoining, semi-

Company, which has been restored

ans.

their clean clothes close to the ceiling.

visitors. The airborne coats serve as a

transparent wire lockers, which create

and refurnished into its 1933 state

Coats, hats and shoes would dangle

visual representation of the museum’s

a similar experience.

and cannot be missed. Tickets at the

w.boijmw

from the ceiling until their owners

audience, making the "Merry-Go-

Close by the museum is the Villa

Nieuwe Instituut. M.G.

w

returned at the end of a long workday.

Round" both a functional design

Sonneveld, a Modernist villa for one



M

2. 2





2. 3n

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160

The recently completed Market aluminium interior roof has a

11,000 m2 and is very colourful.

use and experience of a particular

Hall in Rotterdam with offices

striking printed painting by the

It shows huge fruits, groceries,

space by visitors. In this respect,

and apartments is designed by

artists-duo Arno Coenen and Iris

flowers and insects, celebrating

the work of an architect needs art.

MVRDV architects, one of the

Roskam.

nature and the universe. The

The Market Hall and its ceiling

nl/

leading architectural firms in the

It represents the Horn of Plenty,

artists Arno Coenen and Iris

are a modern capitalist Sistine

Netherlands with the architect

referring to the many groceries

Roskam wanted their work to

Chapel and have given enthusiastic

arkthal.

Nathalie de Vries as one of its

and goods that are for sale in the

bewilder the visitors. They also

Rotterdam inhabitants something to

mw.

founders in 1993. However, the

market. The artwork measures

believe that art can empower the

be proud of. M.G.

w

w



2. 3





2. 4

Ex-novo

German architect and urban

planner Lotte Stam Beese’s

contributions to redeveloping

Rotterdam after its demolition in

Second World War were extensive.

161

Stam Beese was one of the

first women to join the Bauhaus

Department of Architecture in 1927.

Continuing her career in the Soviet

Union shaped her idealist approach to

urban planning, leaving visible marks

throughout her Rotterdam oeuvre.

residential district Ommoord, situated

own right, her high-rise architecture

situated in park-like surroundings,

Relocating to the Netherlands

in the eastern part of Rotterdam.

serves to connect the neighbourhood

featuring playgrounds for children

in 1934, Stam Beese eventually

Construction was completed in 1977.

with both the city and its surrounding

and limited access to motorized

became Chief Architect at the Urban

High-rise apartment buildings are

landscapes.

traffic. Most low-rise neighbourhoods,

Development and Reconstruction

a key feature in Ommoord, making

Habitat was another point of focus in

including the Buitenlust area that

Agency in Rotterdam. Approaching

up the central part of the district.

Ommoord’s design. Hook and disk-

Stam Beese designed herself, were

her retirement, Lotte Stam Beese

Characterised by Stam-Beese as

shaped flats as well as woontorens

added at a later stage.

created several designs for the

'vertical residential districts' in their

(high-rise apartment buildings) are

M.E.

2. 4





2. 5

Ex-novo

162

Twelve lakeside residences

Originally named 'The Fourth

floor and first floor both feature a

and energy-saving mechanisms were

by architect Joke Vos have

Dimension', the "Periscope" Houses

spacious wooden balcony terrace

installed, aiming for a 'low energy,

become the eye-catching features

are designed as drive-in homes. Vos

facing the waterfront. On the

high comfort' living experience.

of Rotterdam’s Waterwijk (Water

encased her triplex structures in

wooden platform adjoining the

A survey in 2007 revealed

district). These four sets of

a robust dark brick with a metallic

lower terrace, residents can moor

high satisfaction rates among

triplex houses are clustered on

look, whereas the periscope volumes

small boats. Special attention was

homeowners; the same year the

little peninsulas. Each waterfront

on the upper floors are enclosed

given to sustainability, using durable

Periscope Houses were nominated

façade faces a different direction,

in aluminium panels. Facing the

and low-maintenance natural

as ‘Building of the Year’ by the Dutch

suggesting an archipelago of

waterfront, these volumes reveal a

materials, including hard wood

architectural association BNA.

periscopes looking out over the

wooden loggia accessible through

and wire netting, filled with natural

M.G.

water.

the main living area. The ground

stone lumps. Thermal insulation

2. 5





2. 6

Ex-novo

163

Het Spectrum is a primary school 1980s and 1990s. There was a small an assembly hall/theatre, a media such as individual freedom and in the multicultural district

parcel of land available next to two

library, a caretaker’s office and a staff

personal development.

of Schilderswijk, in The Hague. It

school playgrounds adjoining the

room. The central core of the school

A separate meeting space for

provides teaching over 24 classes

street: a third one came to be located

answers the need for both socialising

parents has been included with the

to children of over 30 nationalities.

on the roof. In this way, children of

and surveillance. It offers children

aim of involving them in the school’s

The new school now forms part of

different age groups can have their

from ethnic minority backgrounds

activities. The column structure of the

the district’s fragmented urban fabric

breaks with others of their same age.

a supervising father figure (the

building gives the school the flexibility

in which 19th century perimeter

The classrooms occupy two L-shaped

caretaker, teachers, parents), while

to respond to new developments in

blocks alternate with large housing

wings flanking a central core with

giving them an opportunity to learn

educational practice.

redevelopment projects from the

areas dedicated to sports and games,

about Western educational values,

M.G.

2. 6





2. 7

Ex-novo

164

This secondary school is built on is easily recognizable by its orange architectural design that reflects 120 students may work individually.

the so-called 'Missouri Island',

walls that form a semi-spherical

modern visions on education. As

Each domain has a distinctive colour

an artificial hill in the water. It is built

volume with round windows.

Wateringse Veld College opposes

palette, allowing students to identify

together with a sports hall, parking

It is nicknamed ‘the ladybird’.

traditional teacher-centred learning,

with the habitat allocated to their

spaces and bicycle storage facilities.

The distinctive glass rooftops

the silver-toned 'floating boxes'

year. Yanovshtchinsky’s designs

The school is connected to the city

are evocative of greenhouse

surrounding the communal hall are

resulted in an innovative, non-

by a special pedestrian or cycle

horticulture, an important industry

divided into ten 'domains'. These

hierarchical building that facilitates

route leading through the buildings

for the Westland region in which the

consist of one instruction room

Wateringse Veld College’s ambitions

and by a communal hall that also

school is situated.

and several supporting rooms for

of becoming a frontrunner in modern

serves as a district centre for the

Vera Yanovshtchinsky was

classroom teaching, as well as a

education.

neighbourhood. The communal hall

commissioned to deliver an

large working space where up to

M.E.

2. 7

itinerary 3

This itinerary focusses on fine examples of architecture and design in three Leiden is about 30 minutes by train from Delft to the north and has around old cities, all of which are also home to scenic canals: Utrecht, Leiden,

122,000 inhabitants (2015, 200,000 including neighbouring villages). Leiden

and Delft. They are easily reached by public transport. In each city, you can is known for its general University, which was founded in 1535 and is the

experience a combination of contemporary design and architecture with the

oldest University in the Netherlands. For a modernist reference, Leiden is the more traditional sightseeing of canals and interesting museums. Start from

town where the avant-garde De Stijl group actually began, developing on from

Utrecht and then proceed to the south-west.

the local group The Sphinx around 1916 (Groot, Gaillard 1999). Currently, two Utrecht is situated in the middle of the Netherlands (c. 335,000 inhabitants

women are involved in the renovation of two buildings. Katja Hoogenboom,

in 2015). It is known for its Medieval past with its largely Catholic culture and its living in Sweden, in currently contributing to the renovation of the interior of the general University. In terms of architecture, Utrecht is internationally renowned Library of University of Leiden (4). Leiden’s Municipal Museum De Lakenhal is for its avant-garde Rietveld Schröder House (1) designed by Gerrit Rietveld

currently restoring and expanding its building of the Laecken-Halle, a guildhall for in collaboration with Mrs. Truus Schröder-Schräder in 1924. After the 1990s,

woollen cloth built in 1640−41. The renovation is a joint project between Julian 165

Marlies Rohmer designed a colourful complex, the "Casa Confetti" Student Harrap Architects (JHA, London) and a new extension by Happel Verhoeven

Housing (2) and Liesbeth Van der Pol created a rather functionally exceptional BV architects represented by Ninke Happel. The museum combines old and

building: the "WKK Centrale" - Power Plant and Energy Generator (3). You may contemporary collections and exhibitions, and has early artefacts from the De additionally take a look at the interior of the new University Library in the same Stijl-group. The new wing is expected to be ready by 2018.

quarter of De Uithof, a building of 2008 by Wiel Arets referencing Functionalist Delft is about 30 minutes by intercity train from Leiden to the south and

Modernism in a dramatic black, red and white colour palette. If you choose

close to Rotterdam. It is one of the most pristine and scenic 17th century town to stay longer in Utrecht you may visit highlights such as the Central Museum centres with a wonderful Gothic New Church. In 2014, it was home to around

(with many fine pieces of furniture by De Stijl) and the Gothic Cathedral. Try to 100,000 inhabitants. Delft is also renowned for its University of Technology, complete this itinerary by foot from the Central Station and walking through

where many Dutch architects were and are educated, including more and more

all the points of interest. At the end of the tour, you can take a bus from the women architects from the end of the 1970s. The Mecanoo architect firm has University Campus back to the Central Station or any other places in the city completed a number of very interesting works in Delft: the interior design of centre. You can also experience this tour in real Dutch style by renting a bicycle the Train Station and Municipal Offices (5) and Library of Delft University of on one of the main rent-a-bike points in the city. Afterwards, you can proceed Technology (6); another building in Delft is the Deltares Office Building (7) by from the Central Station by train to Leiden and Delft.

Jeanne Dekkers, by whom we already viewed a university building in Itinerary 1.

M.G.

itinerary 3

Rietveld Schröder House

1

Prins Hendriklaan, 50 - Utrecht

"Casa Confetti" Student Housing ("Smarties")

2

Leuvenplein - Utrecht

"WKK Centrale" - Power Plant and Energy Generator

3

Limalaan - Utrecht

Library of the University of Leiden

4

Witte Singel, 27 - Leiden

166

Train Station and Municipial Offices

5

Stationsplein - Delft

Library of Delft University of Technology

6

Prometheusplein, 11 - Delft

Deltares Office Building

7

Rotterdamseweg, 185 - Delft



Leiden

4

Utrecht

2

1

167

3

5

6

Delft

7

3





3. 1 n

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168

Commissioned by Mrs. Truus

side by side with Rietveld on the

immediately stands out for its

stimulate active living.

Schröder-Schräder, the eccentric

design of the house. Her outspoken

planar modernist qualities, designed

Truus Schröder-Schräder inhabited

ns/

widow of a lawyer with three young

ideas on organising a home are

according to the principles of the

the house until her death in 1985,

catio

children, this was Rietveld’s first

deeply reflected in its architecture.

De Stijl movement. The interior and

after which it was restored to its

house to show his vision on interior

Schröder-Schräder envisioned a house

furniture, created by both Rietveld

original condition by a former

architecture, furniture and free

that declared how an independent

and Schröder-Schräder, are an equally

associate of Rietveld. The house

n/visit/lo

use/

flowing space. It has since become

modern woman lived. Sobriety was

integral part of its design. Movable

is a national and UNESCO World

nl/e

an international benchmark and icon

to characterise its design and all

wall partitions created a dynamic

Heritage Site and can be visited by

oder-ho

for avant-garde Modernism of the

principal living facilities were to be

open zone rather than a hierarchical

appointment.

useum.

chr

20th century.

situated on the upper level.

arrangement of rooms, which

M.E.

aalm

Truus Schröder-Schräder worked

The exterior of the Schröder House

Rietveld and Schröder believed would

eld-s

M

centr

rietv



3. 1





3. 2

Ex-novo

This building has 380 living units

for students. The façade consists

of aluminium panels in different

colours, which gave the complex its

name. The windows have become

part of this grid and are therefore

169

less recognizable. The multi-coloured

walls reflect to the diversity of the

students, who come from all over

the world. At the entrance there is a

large swing bench underneath a large

overhang, creating a dramatic effect

nl

where students meet and socialise.

etti.

The first four green floors are open

architects have since given the area

"Casa Confetti", Rohmer aimed to

Confetti" won both the Betonprijs

onf

to the public and include different

its colourful architectural character.

emphasize the contrast between her

and the Rietveld Award’s Audience

facilities and companies, such as a

Marlies Rohmer has designed

building and its surroundings, while

Award in 2009. The nickname

casa-c

hairdresser and a Medical Centre.

student housing complexes and

w.

adding character to the Uithof campus.

‘Smarties’ humorously connects the

w

Since the 1980s, in the Uithof

university buildings throughout the

The building was designed to facilitate

‘smart’ inhabitants with the well-

w

campus, a number of unusual,

Netherlands as well as in Barcelona.



interaction and exchange between

known colourful children’s chocolate

award-winning complexes by notable

With her eye-catching design for

its inhabitants on every level. "Casa

weets. M.E.

3. 2





3. 3

Ex-novo

170

The WKK - Warmtekrachtkoppeling oxidizes and turns the steel into a Delft, and later to Barcelona where

explore the gap between kitsch and

Centrale was designed in 2002 for

brown colour. The form of the building

she combined her study with working

affectation because she believes

the University of Utrecht to increase

becomes a sculpture within the

in a studio for urban architecture. To

that everything else has already

the capacity of two power stations

landscape.

earn some money, she translated

been done. According to her, the

that already existed in the Uithof

In an interview for the Dutch daily

books and did other jobs but also

Warmtekrachtkoppeling Centrale is

neighbourhood in Utrecht. Van der

Trouw dated 12th May 2013 by

discovered that there is a limit to

such a building: it is simultaneously

Pol designed this building in order to

Henny de Lange, Van der Pol said

what you can do on your own.

cool enough to express the power of

protect the machines and soundproof

she believed it to be important to ‘live

In her work she also searches for

the machinery it conceals behind rust-

the building. It is made of weathering

dangerously’. She went to Mexico City

the dangerous and extreme when

coloured steel, while its surface has a

steel (Corten steel), which naturally

on her own after studying one year in

designing a building, not afraid to

warm velvety appearance. M.G.

3. 3





3. 4n

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171

Katja Hogenboom has worked

now experience a more stately

Charles and Ray Eames and Arne

architecture is respected throughout

on the renovation of Leiden

spatiality of Bart van Kasteel’s original

Jacobsen, and reorganized library

the library.



University Library since 2007. In her

design from 1976−82. Hogenboom

service points in a visual scheme

Hogenboom was recently appointed

edu/

initial commission to redesign the

subsequently redesigned the Huygens

inspired by El Lissitsky’s Proun

chief architect for the redesign of

en.

Special Collections Reading Room,

Centre and Leiden University Library’s

studies. Her interior designs approach

the 'Open Stacks' as well as the

s.leid

Hogenboom sought to remove its

first floor. Although budgetary

the library as a 'counter public space':

construction of the Asian Library and

staid and musty ambiance.

limitations did not allow for structural

arie

a non-commercial public environment

the Van Steenis Building in Leiden’s

By breaking through the old ceiling,

renovations, Hogenboom designed a

facilitating encounters between

Bioscience Park, on which she is

libr

stronger emphasis was placed on the

reading lounge furnished with modern

people, knowledge and ideas. Bart

currently working in collaboration



robust columnar structure. Visitors

classic furniture pieces designed by

van Kasteel’s Dutch Structuralist

with Jasper Felsch. M.G.

3. 4





3. 5n

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172

Francine Houben is founder and ceiling of the central hall is made of system in the roof provides energy of architecture. “Architecture must architect-director of Mecanoo

long white strips with an historical

for the railway station. The wall of

appeal to all the senses,” Houben

Architects. One of their latest projects

large-scale printed map of Delft. It is

glass at the ground floor creates

states. “What counts in the end is the

is the railway station in Delft, which

designed in white and blue colours

openness and brings light into the

arrangement of form and emotion.”

also houses the city’s municipal

reflecting Delft’s famous pottery.

building.

Her architectural vision convinced both

offices.

The building plan of the municipal

One of the strengths to which the

a municipal committee and a panel

Houben intended the railway station

office was based on a historic map

success of Houben’s high-profile

of Delft inhabitants to commission

to have a truly Delftian character and

of Delft’s city centre, elevating the city

designs is attributed, is her ability to

Mecanoo with the project for the new

visually integrated the city’s identity

government to the level of miniature

combine unique design statements

railway station and municipal offices.

into her architectural design. The

city in itself. An integrated solar panel

with a focus on human experience

M.E.

3. 5





3. 6

Ex-novo

173

Having worked on libraries in New and some tiled pathways, which can of the library is a wide cone opening recently-opened new hall of Delft

York, Taiwan, Birmingham and

be accessed by pedestrians. As the

above with four floors running around

Central Station were both designed

nl/

Norway, Mecanoo is among the world’s

heart of Delft’s university campuses,

it. The main entrance is on the west

by Mecanoo architects of whom

leading architectural companies in

the library houses various rooms and

side; on the north side there is a glass

Francine Houben (b. 1955) is one

delft.

library design and renovations. Delft

spaces. The central hall has room

wall for letting in daylight; in the south

of the founders and directors. She

ary.tu

University of Technology was one

for running editions and periodicals,

side there are offices. The library

was also educated in Delft where

of the first to commission architect-

and a semi-sunken floor for older

received the Dutch National Steel

she graduated in 1984. Over the

w.librw

director Francine Houben the job of

books. There is a computer room for

Prize in 1998 because of the special

years, she has been awarded many

w

designing a library.

students and various meeting rooms

use of steel in its construction.

international prizes and honours.



The slanted roof is covered with grass

and study rooms. The central part

The university library and the

M.E.

3. 6





3. 7

ion

expans

and

tion

enovaR

174

Deltares, an independent institute Greek letter delta ∆. Its forms create also chosen for the Pavilion, which natural surroundings.

for applied research in water

an organic look, unifying the new

nevertheless contrasts with the Tetra

Sustainability plays a key role in

management, sought to unite all of

structure with the robust architecture

offices. Its exterior is covered in

Dekkers’ architectural design. Her two

its Delft-based offices under one roof.

of the original 1970s complex through

wooden slats, as opposed to Tetra’s

additions to the Deltares complex

Architect Jeanne Dekkers expanded

a flowing ribbon façade. Triangular

concrete and glass façade. The

are low-carbon, energy efficient

their existing headquarters with a new

shapes echo in Tetra’s interior design.

interiors of both buildings are furnished

buildings. The progressive depth of

office building - Tetra - and visitors’

An open floor plan was chosen to

in light colours and natural materials,

Tetra’s reflective ribbon façade, for

centre, the Pavilion.

encourage communication and the

especially wood. Minor redesigns of

instance, functions as natural shading,

The tripod plan of the Tetra (meaning

exchange of knowledge among

the surrounding landscape further

whereas the Pavilion features recycled

four in Greek) building refers to the

employees. Flowing forms were

integrate the Deltares complex with its

carpeting. M.G.

3. 7





pioneer

1920, two women were registered as following courses in construction at

B

the School of Decorative Art and Building in Haarlem but nothing else is

etween 1910 and 1945 there was only one woman

known about them. This leaves Margaret Kropholler as the only woman

architect in the Netherlands whose designs

who visibly associated with architecture. When her work was discussed

were actually built. Her name is Margaret Kropholler

in 1929 in the women’s magazine De vrouw en haar huis (Loeff Bokma,

(1891−1966). Her work has been discussed in a

A.H. 1929), Kropholler also addressed architectural education in the

Dutch monograph from 1991 (Van Kessel, E. Kuperus,

Netherlands: she found the architectural training in Delft Polytechnic too

M. 1991; also Groot, M. 2007). Then there was Mrs.

theoretical. Vocational schools were not focussed enough on aesthetics, the

Truus Schröder-Schräder (1889−1985) who in the

architectural design department of the School of Decorative Art and Building

Margaret Kropholler,

1920s worked with the avant-garde designer and

175

in Haarlem was closed down, and architects’ offices were not keen on hiring

c. 1910

architect Gerrit Rietveld in Utrecht. Three more women

women interns because

were active between 1930 and 1940; they were Jacoba Mulder (1900−88),

they supposedly

Ida Falkenberg-Liefrinck (1901−2006) and Lotte Stam-Beese (1903−88).

demanded too much

Jacoba Mulder has been left largely unnoticed. She was active in her role

attention. Towards

as landscape and city architect in the 1930s and designed a forest area

the end of the 1930s,

and recreation swimming pool area in Amsterdam. Both Ida Falkenberg and

Kropholler advocated

Lotte Stam-Beese designed furniture and interiors, and both have been the

the importance of

subject of monographs.

women in architecture

In general, the profession of architect was not accessible to women

and encouraged young

in the Netherlands before the first decades of the 20th century and

women to choose the

those women who were allowed to work with architecture firms were

profession of architect.

only allowed to design the decorative parts of a building. Women could

She is reported to have

only attend lessons related to architecture at decorative art schools and

said: “When it comes

these concerned mainly interior design. For example, between 1915 and

to intuition – as well as

Villa Meerlhuis, Bergen North-Holland, 1918





modern furnishings with central heating, warm water, daylight and windows

for letting in fresh air. Greta/Margaret designed the floor plan, light fittings and furniture for the dining room, living room, bedroom and study, all in a

rationalist Arts and Crafts derived style, which at the time was still highly valued in the Netherlands. Moreover, she designed stencil decorations for

the walls and ceilings (Exh. cat. Amsterdam 1913: 271−272).

While Kropholler benefitted from working in her brother’s bureau, it

seems no coincidence that her real architectural career began immediately

after the Great War. Her first buildings were country villas: one for a painter friend located in a popular rural area in the east of the Netherlands and two more in a villa park in the area of north Holland.

Louise Went-House, Wibautstraat, Amsterdam, 1963

176

Social Housing Block, Holendrechtstraat 1−47,

Amsterdam, 1921−22

the other skills necessary in practicing the profession of the architect, I

believe that a collaboration between female and male architects can only

serve to enrich architecture.” (Van Kessel, E. Kuperus, M. 1991: 84).

Margaret began her career around 1908 at the architect studio

of her brother Ko and his partner J.F. (Frits) Staal who later would

become her husband. First, she mainly designed ceiling and wall stencil

decorations for refurbishing clients’ houses and her first architectural

work was the interior of a ‘House 1913’ at the women’s exhibition "De

Vrouw 1813-1913" (Woman 1813-1913) in Amsterdam. She submitted

her design under the pseudonym of Greta Derlinge. ‘House 1913’ had



SLOVENIA

SLOVENIA

Grasseli, Marija Grafenauer Vogelnik and Majda Neřima), who received their

first independent small-scale commissions only after the Second World

As Slovenia occupies a relatively small geographical territory this part

War, when building activity increased significantly to repair war damage and

of the publication presents women architects’ work as it is dispersed

support the expansion of the new state. Socialist Federative Republic of

across three of the country’s regions defined by different geography,

Yugoslavia viewed women’s equality as an important political topic, officially climate, cultural and historical contexts instead of proposing three separate proclaiming equal opportunities for both genders. Despite these formal

itineraries for one city only. In this manner women’s architectural creativity changes female architects remained active mostly as the anonymous co-is presented most thoroughly and in a way most fit for the format of

authors of projects realized for large state-owned construction companies,

publication.

public offices or architectural studios owned by their male colleagues,

Diverse projects by women architects of various generations were

teachers or partners. The first post-war generation (Marta Ravnikar Ivanšek,

included to demonstrate the wide span of their activity covering all fields

Magda Fornazarič Kocmut, Nataša Štupar Šumi, Mira Ružič Kraigher, Lidija

of architecture: from landscaping and interior design projects, schools,

Podbregar and Erna Tomšič et al.) also worked in similar circumstances

kindergartens and children’s playgrounds, which made up the majority

with only a select few getting opportunity to develop larger independent

of architectural oeuvres by the older generations of architects, to social

projects. Their creative efforts were directed mostly towards urban planning, 178

housing, hotels, museums and sport facilities built mostly by the younger

interior and industrial design, monument protection, developing projects for

generations. Several interesting cases - particularly projects for private

housing, teaching, etc. Some of them, including Vladimira Bratož and Alenka

housing - were inevitably left out, as preference was given to projects

Kham Pičman, were also active in the field of the visual arts. In 1970s and

opened to public and located near other points of cultural and architectural

1980s female graduates who studied with Professor Edvard Ravnikar came

interest, which are also easily accessed by (public) transport.

to the forefront of the local architectural scene, either with projects of

The role of women in the development of Slovenian architecture has

their own or by working in their (former) professor’s studio. These include

not yet been adequately researched or properly assessed. Those belonging

Majda Dobravec Lajovic, Majda Kregar, Barbara Rot et al. Their work gained

to the oldest generation of women active in the field of architecture (such

wide recognition and was awarded the highest national and architectural

as Helena Vurnik) were educated as visual artists. The first female to

prizes. Only after Slovenia’s gaining of independence in 1991 did the female

graduate from the University of Ljubljana’s department of architecture

architects start to be more equally represented with respect to their male

was Dušana Šantel, who completed her studies under the supervision of

colleagues and became more widely known to the broader public, both

Professor Ivan Vurnik in 1932. She was part of the pre-war generation

home and abroad. The projects included in the itineraries attest to their

of Slovenian women architects (Gizela Šuklje, Marjanca Kanc, Katarina

creativity and success.

itinerary 1

The itinerary starts in the city’s historical centre where a short climb on

the city’s largest square, a short walking distance from the Zvezda Park, is

the Cable Railway will take you to the restored Ljubljana Castle (1) on top

flanked by imposing skyscrapers, a modernist retail store and the Parliament

of a hill offering views over the whole city. After a short and easy descent, building. The Early Christianity Centre Archaeological Park (4) is located right either via the cable car or on foot, you will reach the bustling Central Market, next to the square (the Emonian House Archaeological Park - 4) is located

famous for its market halls and colonnades designed by Jože Plečnik

on the other side of the city centre, running along the preserved Roman walls (1940) and renovated by architect Barbara Rot in 1994−95. Stroll around the

close to the historic Krakovo suburb). Complete your visit after a good look surrounding squares, making your way through the Flower Market, past the

around the park, by taking a walk around the late 19th century palace of the

18th century Baroque Cathedral (Andrea Pozzo) and Archbishop’s Palace

National Museum, the neo-Baroque Opera House, and then continue towards

towards the Town Hall. From the Baroque Robba Fountain (1751), continue the vast Tivoli Park, past Ravnikar’s Gallery of Modern Art, the National

towards the river and across the Triple Bridge to the centrally located

Gallery and the Orthodox Church.

Prešeren Square, dominated by the Franciscan Church of Annunciation

Once you find yourself on the leafy Jakopič Promenade keep to your right

(1660s), and take the sloping Miklošičeva Street to the Cooperative Business

179

and walk towards the edges of the park and the Hala Tivoli Sports Complex Bank (2). This area is distinguished by some of the best examples of

with the "Fish" Playground Equipment (5) located on the children’s playground Ljubljana’s Secessionist architecture, mostly built after the devastating

in front of it. Nearby is a bus stop where you can take a bus journey

earthquake of 1895 following the civil engineering master plan by architect

along the busy Celovška Street into Ljubljana’s Šiška municipality, driving Maks Fabiani. Turn right on the corner of the Bamberg Palace and continue to past the Medieval Old Church ( Stara cerkev) and a number of residential the Turist Hotel; from here, take the narrow street on your right to the former neighbourhoods. After two stops you will reach the central administrative

public baths, converted into the "Mala ulica" Family Centre (3).

and cultural square of the predominantly residential area, surrounded by

From here take Trubarjeva, one of Ljubljana’s oldest and most authentic

Modernist architecture, including the Kino Šiška Centre for Urban Culture (6).

streets and then stroll along the riverbank until you walk up the gently

Heading back towards the centre, stroll along the quieter residential streets cascading Dvorni trg designed by Vesna and Matej Vozlič to Congress Square

towards the Parish Church of Saint Francis of Assisi (7) and the official

and the adjacent Zvezda (Star) Park. The area, designed in the early 19th

end of the itinerary - should you have enough energy left, you might fancy

century, has been the stage to many important political and social events

a walk along the Drenikova Street to visit the famous Stadium designed by

throughout history. It is enclosed by a number of notable historical buildings: Jože Plečnik and his student Gizela Šuklje. A pioneer in the field of women’s the Slovenian Philharmonics, the Baroque church of the Ursuline order and

architecture, Šuklje devised the Celebratory Stands along the shorter, western the University Palace. Ljubljana’s other, more recent, ceremonial centre was

side of the Stadium. K.M.

highlighted in Edvard Ravnikar’s plans for the Republic Square (Trg republike);



itinerary 1

6

7

180



Ljubljana Castle with Cable Railway

1

Grajska planota, 1

5

Cooperative Business Bank

2

Miklošičeva cesta, 8

"Mala ulica" Family Centre

3

Prečna ulica, 7

Early Christianity Centre

181

Archeological Park, Emonian

4

House Archeological Park

Erjavčeva cesta, 18; Mirje 4

2

3

"Fish" Playground Equipment

5

Playground next to Sports Park in

Tivoli Park

Kino Šiška Centre for Urban Culture

6

Trg prekomorskih brigad, 3

4

Parish Church of Saint Francis of

1

7

Assisi: Winter Chapel and Main Altar

Verovškova ulica 44

1





1. 1

reuse

and

tion

toraesR

182

Ljubljana Castle is located on by Jože Plečnik, although only his smallest detail. The original idea, awards for architecture - Plečnik Castle Hill above Ljubljana’s

plans for the surrounding area were

selected in a public tender in the

Award 2004 and the Golden Pencil

historical centre. It was built as a

realized. Renovations of the eastern

1970s, has successfully passed

Award 2005. In 2006, Majda Kregar

Medieval fortress - most likely dated





part of the castle took place


the test of time and remains

and Miha Kerin devised the concept

to 11th century - and frequently

between 1940 and 1963, according

unaffected by the changes

for the funicular railway to Ljubljana

si

rebuilt together with most of the

to the plans made by architect

in ownership and political

Castle, for which they were given

rad.

buildings that surround the vast

Boris Kobe. The current restoration

developments. However, it reflects

the Plečnik Award 2007, the Golden

nskig

courtyard. The latter, dates back to

of the Castle has been underway

the changes in architectural values

Pencil Award 2007 and the Gold

the 16th and 17th centuries.

since 1968. The ambitious plans

and styles that occurred in the

Medal at the 21st Ljubljana Biennial

w.ljublja

The first project for the Castle’s

by the above-mentioned architects

past decades. The architects’ work

Industrial Design (BIO) in 2008.

w

restoration was prepared in 1932

have been thought out to the

was awarded with two national

H.S.

w



M

1. 1



1. 2 n

and esig

tion r drio

Helena Vurnik’s share of the more modest design used to cover

ecoraD inte

former Cooperative Business

the northern façade, although it is

Bank’s design (currently the

currently hidden from view by a new

headquarters Ljubljana’s Regional

building, has been constructed next

Court Land Registry) includes the

to it. The painterly decoration of the

original decoration of the façade

central hall on the ground floor is even

183

and the central hall on the ground

richer, both in the elaborate designs

floor.

and in colour schemes: it depicts

The four-storey building is flanked

women in typical costumes from

by a couple of bay-windows on

the Gorenjska region in addition to

each side, spanning over all floors

geometrical patterns. The decorative

and similar, except only one floor

patterns represent one of the attempts

high bay-windows on the remaining of conceiving a Slovenian national

window axes of the fourth floor.

style in architecture (some authors

The rich, mostly geometric

interpret them as stylised carnation

ornament in bright colours of the

flowers of Gorenjska). Such efforts

Slovenian tricolour (white, blue,

were quite common from the early

red) and gold, covers the entire

20th century onwards and reached one

surface of bay-windows and

of their pinnacles in the early 1920s

surrounds the windows, the ground oeuvre by the Vurnik spouses.

floor openings and the cornice. A

F.L.

1. 2





1. 3n

esig

, reuse r d

tion rio

M ala ulica or Little Street, located

just off the popular Trubarjeva

enovaR

Street in Ljubljana’s historical centre,

and inte

is a public day-care and activity

centre for preschool children. It

occupies the premises of a former

City Public Bathhouse built in

1899–1901 after plans of Wilhelm

Brückner, which was repurposed as

184

a restaurant in the second half of the

20th century.

After several years of neglect, a team

of architects devised a plan for its

conversion into the Family Centre.

The neo-Romanesque façade was

outside city on a child’s scale with

model apartment, a play-house, a

irregular shapes with a stress on

reconstructed respecting cultural

the various play areas mimicking

fishpond, a library etc. The design

safety. To further reference and

heritage protection guidelines with

its constituent parts. One enters

encourages imaginative play and

honour the building’s original purpose,

si a.

the interior following and making the

through the city gates and continues

helps children to get to know

artists Mojca Smerdu and Alenka

ulic

most of the former ground plan, while

along a city street lined with playful

Ljubljana; the innovative equipment

Videgar created a fountain for the

ala

adapting it to its users - the children.

imitations of Ljubljana’s famous

was conceived with soft, tactile and

basement lavatory area, appropriately

mw.

It was created as a reflection of the

façades into the city park, a cafe, a

washable materials in dynamic,

named the 'City Public Bath'. K.M.

w

w



1. 3





1. 4

tion

enovaR

At the Early Christianity Centre Roman family.

archaeological site excavations

Presentations of both archaeological

unearthed a Roman residential

excavation sites allow the visitor to

building built at the beginning of the

experience Roman ruins by walking

185

1st century A.D. and rebuilt in the early

on elevated paths leading from the

4th century. A section of the house

entrance plateau over the ruins,

was found to have been subsequently

flanked with information boards and

converted into an early Christian

surmounted with a non-invasive

chapel (second half of the 4th

supporting construction, covered

century) with a rectangular baptistery,

by a linen roof. At the side of Early

enclosing a small pool in the centre,

Christianity Centre, a workshop

si

which was also built nearby, along the

corner for schools was arranged.

central courtyard (early 5th century).

The presentation of excavated

uzej.

The Emonian House site displays

material through layers enables a

estnim

remains of a building dating from

more thorough understanding of the

mw.

the late 4th and early 5th century.

archaeological heritage. With the

w

The building with top quality floors,

renewal, the archaeological parks

w



mosaics and heating was most likely

became a part of the wider urban

owned by a wealthy and respectable

context. H.S.

M

1. 4



1. 5nsigDe

The first layout of the Tivoli Park

was designed by engineer Jean

Blanchard in 1813 and underwent

extensive renovations between 1921

and 1939 by architect Jože Plečnik,

whose most notable contribution

to the original plans is the Jakopič

Promenade traversing the park. The

fish-shaped piece of playground

equipment was created upon request

by Marjan Božič - the architect

186

in charge for building the sports

complex in Ljubljana’s Tivoli Park

in 1950s - and was placed onto the

children’s playground in front of it.

The durable concrete construction

made up of organic shapes

reminiscent of a fish presents an

and creativity while elevating its

to include a horizontal and vertical

with generations of Ljubljana’s

alternative to the prevalent mass

surroundings through its sculptural

bar made of bronze with a large,

inhabitants, subsequently became the

produced playground equipment;

quality. The author, architect and

varicoloured glass eye, which

official logo of the nearby swimming-

enables a tactile experience of its

sculptor Vladimira Bratuž “Laka” -

could not be realized due to lack of

pool complex.

surfaces and encourages imagination

Plečnik’s student - initially proposed

funding. The popular fish, famous

K.M.

1. 5





1. 6n

esig

T

, reuse

he spaces of a former cinema in

r d

the central square of Ljubljana’s

tion rio

Šiška municipality, built in 1961

after plans by Božidar Gvardjančič,

enovaR

were left to ruin after its closure

and inte

in 2000. After almost a decade of

neglect and a number of initiatives

for renovation, the modernist

architecture was revived as a centre

187

for urban culture. The architects

in charge decided to respect the

original plans made to harmonize

with the buildings surrounding

the square and closely followed

monument protection guidelines.

Alterations were kept to a minimum

and incorporated in a way that

si

mosaic tiles, the 'terrazzo' flooring and

converted into a second, smaller

Kralj. The project was awarded the

does not interfere with or distract

the dominant spiral staircase, were

multi-purpose hall, while keeping the

Golden Pencil Prize for best public

osiska.

from the older architecture, but

carefully preserved; the upper large

original ground plan throughout the

architecture by the Chamber of

rather puts it in focus. The main

hall was technologically improved and

building. The restored building also

w.kin

Architecture and Spatial Planning of

w

elements, including the exterior

refurbished, in order to suit its new use

includes an exhibition space and

Slovenia in 2010.

w

glazed surfaces and plasters, the

as the main concert/theatre venue.

a popular cafe, furbished with the



K.M.

(reinforced) pillars covered in green

The storage space on ground level was

famous Rex chairs by designer Niko

1. 6





1. 7n

esig

r drio

Inte

Architect Jože Plečnik’s student wooden oval with an inscription is

Erna Tomšič was challenged

placed onto four slim pillars, with a

with the difficult task of finishing the

second, slightly narrower oval on the

interior of Plečnik’s church of Saint

four vase-shaped pillars, topped by

Francis of Assisi in Šiška. The church,

an angel musician.

188

built between 1925 and 1927 belongs

Due to the liturgical reforms

to the most important examples

following the Second Vatican

of Slovenian Modern architecture.

Council, the architect redesigned

Between 1965 and 1973 Tomšič

the presbytery in 1971–73. The

was in charge of overseeing the

altar follows Plečnik’s original layout

construction of the so-called Winter

for the presbytery in the materials,

Chapel on the north-eastern side of

colour schemes and forms. In 1973,

si

the church, based on her teacher’s

Tomšič supervised the additions

plans from 1950. The interior

to the main altar: a large, pyramid

Even though she was faced with

high level of skill, while succeeding to

is dominated by an altar at the

structure made of wood and carrying

the difficult task of finishing master

not overshadow her teacher’s works.

upnija-siska.

northern wall (1973). The ciborium

the patron saint was superimposed

Plečnik’s works, Tomšič managed to

F.L.

is especially of particular interest – a

onto the tabernacle.

complete the job demonstrating a

o@z

inf



1. 7

itinerary 2

This itinerary follows the women architects’ work from Slovenia’s Alpine noted for its Medieval mercury mine and lace. Climb the castle overlooking region to the Coast, taking you on a journey through some of the country’s

the old town, visit the late 18th century Miners’ theatre building (the oldest in most important natural and cultural heritage. It starts in the picturesque heart the country) and the Idrija Primary School (5). From here you can take a short of the Alps (the Upper Carniola Valley) just a few kilometres from the border detour to Žiri and stop at the Kržišnik Family Garden (open to the public),

with Italy and Austria, in the Planica Nordic Ski Centre (1) on the outskirts of which was designed by its previous owner Juta Krulc, a landscaping pioneer.

the Triglav National Park. The area is popular with lovers of both winter and Continuing along the main road towards Koper you will reach the TIC - Tourist summer sports.

Information Centre (6) in Postojna, located close to the famous Postojna

The next stop on the itinerary is only a couple of minutes’ drive away - the

Cave and the spectacular Predjama Castle.

Špik Hotel (2) is located in the small village of Gozd Martuljek, surrounded

Next, driving up the Karst plateau, you will pass the fertile Vipava Valley

by ski slopes and close to the beautiful Martuljek waterfalls. Enjoy a leisurely with its numerous renaissance and Baroque villas. Stop in Divača, a well

drive through the Sava river valley towards the idyllic town of Bled, one of the preserved nucleated village typical of the region, which is located on the

189

country’s most important landmarks. Here, take a walk around the lake to visit crossroads of the historical border between the Habsburg Empire and the

the Referee Tower and Spectator Stand (3) and appreciate the late 19th and

Republic of Venice. Wander around the Museum of Slovenian Film Actors (7)

20th century Villas scattered along the banks (including Josip Broz - Tito’s

located in a perfectly preserved example of Karst vernacular architecture.

former summer residence, Vila Bled). Take a boat ride to the small island

The Škocjan Caves, a UNESCO World Heritage Site, and the village of Lipica

which is home to the Church of the Assumption, and climb the Medieval

from where the white Lipizzaner Horses originate, are both nearby and worth

castle on the tall rock overlooking the lake to enjoy the beautiful views over a short trip.

the area. You could also drive to the nearby Bohinj Lake in the protected

Finally, leaving the Karst region with its fortified Medieval churches

Triglav National Park area and stop in the village of Bohinjska Bistrica to

and villages behind, you will reach Istria and arrive on the Adriatic coast.

admire the recently constructed and architecturally praised wooden bridge

Here you may decide first to take a walk around the seaside town of Koper

across the Sava Bohinjka River ( Dans Arhitekti team) in Camp Savica.

with its typical Venetian main square with the Praetorian palace, the loggia, Leaving Bled, continue past the Medieval town of Radovljica with its well-and the cathedral. Drive to the nearby "Honeycomb" Housing Blocks (8) preserved historical centre and architectural works by Ivan and Helena Vurnik, overlooking the Izola Bay and the old town, pass the cliffs to arrive in the

and arrive in the Square and Exterior Altar (4) in Brezje. This is the last stop charming Medieval Piran and then continue - either on foot or by car- along

in the Alpine Carniola region - after passing Ljubljana in the direction of Koper the beaches of the Portorož Riviera. Enter the Salina Nature Park in Sečovlje you will reach the Karst landscape renowned for its caves, disappearing lakes and relax at the Lepa Vida Thalasso Spa (9), found amidst the abandoned

and forests. Take a short excursion to Idrija, a UNESCO World Heritage Site

saltpans. K.M., H.S.



itinerary 2

Planica Nordic Ski Centre

1

Planica - Rateče

Špik Hotel

2

Jezerci 21 - Gozd Martuljek

1

2

Referee Tower and Spectator Stand

3

Velika Zaka - Bled

Jesenice

Square and Exterior Altar

4

Brezje 72 - Brezje

190

3

4

Kranj

Ljubljana



Idrija Primary School

5

5

Lapajnetova ulica, 5 - Idrija

Idrija

Nova Gorica

TIC - Tourist Information Centre

6

Tržaška cesta - Postojna

Museum of Slovenian Film Actors

7

Kraška cesta 25 - Divača

"Honeycomb" Housing Blocks

Ulica Zvonimira Miloša,

191

6

8

Postojna

25 and 27 - Izola

"Lepa Vida" Thalasso Spa

7

9

Sečovlje Salina Nature Park,

Seča 115 - Sečovlje

Trieste

Koper

8

Piran

9

2



2. 1

-novo

Planica is one of the most exciting

ex

entry points to the Triglav National

Park and the largest protected

and

natural environment in Slovenia.

tion

As the Planica Nordic Ski Centre is

also protected as national technical

heritage, the renovation of the old

enovaR

ski-jump facilities in 2009 had to be

planned and carried out respecting the

existing landscape: the 1920s "Giant

ski jumping hill" by Stanko Bloudek and

the 1969 ski flying facility designed by

192

the Gorišek brothers. Apart from the

renovation of the historic ski-jumping

centre, the new project also included

the construction of a new cross-

country skiing facility.

The main aspect of landscape

design was based on the profound

forms are aligned and in tune with

si

cold and the warm, the monumental

geometry of the concrete structures,

a.

relation between the construction, the

the silhouette of the mountains and

and the intimate. Attention is given to

to the warm colours of late summer,

nic

constructed site and the natural site.

the calmness of the pine and beech

the way the landscape interacts with

bringing attention to the wooden

The careful planning of topography,

forest. The project works on many

architecture through different seasons,

details. The Planica Nordic Ski Centre

nc-pla

the systematic selection and reduction

levels combining the solid and the soft,

w.

from the winter cold and sharp

renovation project won the Architizer

w

of materials, the bold shapes and

the resistant and the ephemeral, the

w

mountains reflected in the simple

Award for 2015. H.S.



2. 1





2. 2

-novo

ex

and

tion

enovaR

193

The building was conceived as an mimics the surrounding mountainous the façade visually interact with glazed surfaces in wooden frames extension of the older hotel in

landscape with its massive, slanting

the rocky shapes and forms of the

in combination with wooden wall

order to increase its capacities with

concrete roof, the annexed wing is more

Alpine surroundings. The façade is

panelling, and furnishings made

a spa and wellness centre. In 2004

open due to the large glazed surfaces,

composed of vertical boards made

of natural materials in simple

a part of the old hotel building was

but still in tune with both the nature and

of larch wood, alternating with

shapes. These features serve a dual

demolished to make room for the

the existing architecture.

perforated balcony partitions and

function: they effectively connect

new additions, which respect the

The architecture is designed as a

horizontal metal fences, creating

the hotel interior with its exterior

form and the scale of the preserved

unified monolithic volume with tilted

a visually rhythmic and airy outer

and offer beautiful panoramic views.

wing. While the older structure

surfaces; the colour and structure of

structure. The interior comprises

S.K., H.S.

2. 2





2. 3

Ex-novo

194

Two notable new projects, both providing its users with unobstructed clearly visible through the remaining steep slope on the other side of the sensitively in tune with the sur-views of the finish line. The simple

glass construction. The elevation of

finish line. Devised as a sloping gallery

rounding landscape, were built in the

construction seemingly hovering

the building enables direct access to

made of concrete tiers its lower,

finish arena of the redesigned Rowing

above the water level was conceived

the shore. The authors were awarded

open parts function as seating for

and Regatta Centre before the 2011

as an 'invisible tower' made from

the Plečnik medal for the architecture

spectators, while the upper covered

Rowing World Championship in Bled.

three horizontal concrete plates

of the tower and landscape design

parts are intended for commentators

The "Referee Tower" in Velika Zaka

intersected by the dominant,

for 2012 (awarded by the Society of

and VIP lounges. The walkable roof

blends in seamlessly with the

irregularly positioned steel pillars

Architects of Ljubljana).

above the latter offers panoramic

tree-lined banks of the lake, while

reminiscent of tree trunks, which are

The "Spectator Stand" is built on a

views over the lake. K.M.

2. 3





2. 4l

-novo

renewa ex

rban and

U

195

The steady influx of pilgrims Instead of the former, longitudinal

wall on the north side of the

wood without ornamentation.

visiting the Slovenian national

orientation of the square following the

square. The altar itself is placed

According to the architect’s vision

shrine and famous pilgrim centre in

church axis the square is presently

into a rectangular solid object with

the square appears to be oriented

Brezje in the north of Slovenia led to

accented on both the longitudinal

large double door. Its dark exterior

longitudinally when the exterior altar

si

a need for a redesign of the square

and the transverse axis, preserving

contrasts with the light birch wood

is closed, leaving the pilgrim church

arija.

in front of the Saint Vitus church

all elements of Plečnik’s design (the

interior, which 'radiates' whenever

with its richly ornamented neo-

m

(also known as the Basilica of Mary

exterior wall, staircases, niches). A

the doors are opened. The altar

w.

Renaissance façade to dominate the

w

Help of Christians), conceived by

simple construction enclosing the

furnishings (altar, two ambones,

space, and transversally, towards

w

architect Jože Plečnik in the late

altar, designed with clear lines without

seats for priests and servers) are



the new altar, when closed.

1930s.

ornament, is located next to Plečnik’s

minimalist in design, made of birch

F.L.

2. 4





2. 5

Ex-novo

196

The building with the dynamic

obstruct views due to the attentive

are flanked by yellow tin plates

staircase leads through a rectangular

layout is located at the Lenštat

design of the elevations and the

with horizontal gutters. With the

frame covered with decorative ceramic

plain above the river Idrijca. It is

transparency of the front parts. The

exception of the main façade, the

tiles and a multi-part concave passage

characterized by clearly defined

main façade, composed of three two-

building is surrounded by a wide,

with a door into the school’s interior.

architectural elements and careful

storey sloping volumes, is supported

concrete cornice, and covered by

The project was awarded the highest

design of the visual connections

by square concrete pillars. With

a flat roof. The entrance portal

national award for culture, the France

between the interior and exterior.

baldachins above the two rows of

is sculpturally decorated (Tomo

Prešeren award for architecture in

Despite the fact that it is one of the

window openings harsh rectangular

Kržišnik and partners) and consists

1982.

largest buildings in town it does not

shapes are softened. The exterior walls

of visually refined details - the convex

S.K.

2. 5



2. 6

Ex-novo

The Tourist Information Centre

in Postojna is located close

to the town bus station and the

main intersection with roads,

leading toward the town center,

Postojna cave and the highway. It

includes a small resting area with

197

parking spaces and urban furniture.

The building was designed as

a modern, attractive and easily

visible multi-functional pavilion.

The front comprises an information

center and a gallery, with public

toilets for visitors in the back. The

uniform exterior façade morphs

into a roof reminiscent of cave

formations; its design, form and

the building tradition of the Notranjska

to the fact that authors Polona

Designer’s Association Iconic Award

orientation follow the principles of

and Karst regions. The multifunctional

Filipič and Peter Šenk both attended

2015 for Architecture and Slovene

sustainable construction in using

pavilion is a perfect example of

its postgraduate Laboratory of

award Wood in Town 2015.

renewable materials (i.e. wood). The

Rotterdam’s Berlage Institute

Architecture (graduating in 2003).

H.S.

autochthonous materials also reflect

teachings, which can be attributed

The project received German

2. 6





2. 7n

esig

. reuse r d

tion rio

enovaR and inte

198

The Museum of Slovenian Film quality of the village surroundings, While the house was completely interesting and playful illumination of Actors is housed in the restored

as well as focused on the smallest

restored and has remained the

the interior.

Škratelj homestead, a monument

details of the building interiors.

dominant feature of the complex,

The Museum is a model example

of ethnological, architectural and

Careful attention was given to

the desolated barns were rebuilt

of successful restoration and

regional cultural heritage, which

preservation, revitalization and

in a modern interpretation of the

repurposing of a monument of

.si

is also the birthplace of the first

repurposing of the homestead's

local traditional architecture. The

cultural heritage, encouraging

Slovene European film star of silent

features, such as the typical 'borjač'

roof construction is carefully laid

revitalization of local community and

jdivaca

movies Ida Kravanja (1907–79), with

courtyard with an original fountain

over the old walls, which enclose

was awarded the Slovenian National

stage name Ita Rina. Its restoration

in the center, occasionally serving

a gallery, with a narrow line of

Plečnik's Award for architecture in

.muze

greatly contributed to the overall

as a venue for open-air events.

windows below it, providing an

2011. H.S.

www

M

2. 7





2. 8

Ex-novo

199

The two housing blocks are set flexibility and space for reorganization. Textile shades provide privacy while air behind the shades is naturally on a hill with a view of Izola Bay

Since they are subject to Mediterranean

still allowing open views over the

ventilated through perforated side

on one side and the surrounding

climate, shade and outdoor spaces

bay; their strong colours create

partitions of the balconies. In the

hills on the other. They comprise

were given careful consideration. Each

different atmospheres within the

winter, the warm air is trapped

30 differently sized apartments

apartment has a loggia-like balcony,

apartments, block direct sunlight

inside and provides additional

of various layouts: all are small,

providing the inhabitants with an

and create an 'air buffer' zone. The

heating to the apartments.

with rooms sized according to the

outdoor space that is intimate, partly

balcony modules are designed as an

The project was nominated in 2006

minimum allowed by Slovenian

connected with the interior, shaded and

efficient system, providing shading

for the EU Prize Mies van der Rohe

standards and do not include any

naturally ventilated; the main façade

and ventilation for the apartments.

Award, for “Housing on the Coast”

interior structural elements, enabling gives an impression of a honeycomb.

In the summer, the accumulated hot

Category. H.S.

2. 8





2. 9

Ex-novo

200

The open-air wellness is situated the 14th century.

tool sheds commonly used in

paths, seamlessly complementing the

amidst the abandoned saltpans of

The spatial concept of the spa

saltpans. They house a reception,

cracked salt pond floors surrounding

Sečovlje in Salina Nature Park located

follows the traditional features of

changing rooms, doctor’s offices,

the emerald pools, creates a perfect

in the area called “Lera” where the salt

saltpans landscape. The centre of

toilets, a bar, the pool machine room,

background for the pavilions and deck

si

production is still alive. The Sečovlje

the complex consists of a swimming

and other service facilities.

chairs in contrasting warm, golden

a.

saltpans are the northernmost

pool with seawater, pools for Kneipp

Wood was chosen as the primary

tones. Despite being enclosed by a

pavid

Mediterranean saltpans in use and

therapy and small pools for brine

building material for its ecological

fence of hundreds of wooden pillars

among the very few where salt is still

therapy. Wooden paths connect the

and sustainable value, as well as

to separate the complex from the sea,

sso-le

produced respecting the centuries-old

surrounding simple cottages and

for its aesthetics and tradition; the

the spa remains sensitively in-tune

processes originating from at least

pavilions reminiscent of traditional

washed-out grey of the wooden

with the surrounding landscape. H.S.

w.thalaw w

2. 9

itinerary 3

This itinerary starts on the outskirts of Ljubljana and leads you into the

vrh hill and enjoy the beautiful open views across the southern part of the

hilly landscape of Štajerska, the north-eastern part of Slovenia. The first valley from the popular "Celje" Hut (3) mountain cottage.

stop is located on the outskirts of Ljubljana, in the so-called "BTC City". The Next, drive northwards until you reach the small village of Vitanje, the

transformation of former public warehouses into one of the largest centres

birthplace of cosmonaut pioneer Herman Potočnik Noordung (1892–1929).

of business, shopping, recreation and entertainment in Europe began in the

Visit the KSEVT - Cultural Centre of European Space Technologies (4) which

1990’s when they were converted in shopping malls. Several new buildings

was built in his honour and as a home to his legacy. From here you can

have since been constructed, including the austere and minimalist Radisson

take a detour to nearby Velenje, a modern industrial town founded after the

Blue Plaza Hotel (1), the Crystal Palace (the tallest high-rise office building in Second World War near the older town centre below Velenje Castle, as well

Slovenia, designed by Atelje S), the Multiplex Cinema and the Atlantis Water as Ravne na Koroškem and its architecturally interesting low-energy Punkl Park. From here, start your trip heading towards the east. Leaving the city

Youth Hostel designed by architects Maruša Zorec, Martina Tepina and Uroš behind, drive to Krašnja, one of Slovenia’s oldest parishes and visit the Farewell Rustja. Alternatively, leave Vitanje and head for Kidričevo, the next stop on 201

Chapel (2) on the village cemetery. You might also stop at the nearby remnants the itinerary and drive through Zreče (the spa and Rogla ski resort are of

of one of the oldest Renaissance castles of the region in Brdo pri Lukovici.

particular interest). You will first reach Slovenska Bistrica, a town founded Driving under (if you take the highway) or over the Trojane Pass you leave

in the 13th century which is full of interesting architectural sites, and then Kranjska and enter the Štajerska region. This fertile wine region is scattered arrive in Kidričevo. The entire industrial town was built after the Second World with spas - you can take a detour and relax in the old Roman baths of Rimske

War. The more recently-founded "Kidričevo" Kindergarten (5) is located on its toplice, visit Rogaška, a popular health resort since the times of the Austrian northern outskirts.

Empire, or the more modern Terme Olimia in Podčetrtek, noted also for its The final leg of the itinerary will take you past Slovenia’s oldest town,

Ortenia Apartments, designed by architects Petra Ostanek and Tinka Beltram Ptuj, which is well worth a visit for its hilltop castle and the old historic centre Prekovič.

that lies underneath. Follow the Drava River to Maribor, the last stop on the After driving through narrow valleys overlooked by steep hills, you will see

tour. Slovenia’s second largest city is renowned for its old town which is of the landscape open up into the vast Savinja Valley plain. Passing the fields

architectural interest, particularly along the riverfront, where you can also of hops and the Roman necropolis in Šempeter you will arrive in Medieval

enjoy a glass of one of the great local wines in the shade of the world’s oldest Celje, the third largest city in Slovenia. The former seat of the powerful Counts vine. Finally, stroll through the town’s winding streets towards the historical of Celje (1341−1456), the area is home to an abundance of architectural

villas on its western outskirts, and your journey’s end at the "Ljudski Vrt"

remnants which still attest to their historical influence. Climb the nearby Tolsti Stadium (6). H.S.

itinerary 3

Radisson Blu Plaza Hotel

1

Bratislavska cesta 8 - Ljubljana

Farewell Chapel

2

Cemetery of Krašnja - Krašnja

"Celje" Hut

3

Pečovnik 31 - Celje

202

KSEVT - Cultural Centre of European Space Technologies

4

Na vasi, 18 - Vitanje

"Kidričevo" Kindergarten

5

Kajuhova ulica, 10a - Kidričevo

"Ljudski Vrt" Stadium

6

Mladinska ulica 29 - Maribor



6

Maribor

5

4

203

Celje

3

2

1 Ljubljana

3





3. 1n

esig

r drio

Inte

204

na

T

n/hotel-ljublja

he Radisson Blu Plaza Hotel is

floor restaurant and the adjacent

spaces. The perforated window-

Katjuša Kranjc’s speciality. All of the

located next to Ljubljana bypass

staircase invites the visitor with

screens and specially designed

elements included were designed by

com/e

road, at the edge of BTC shopping

its rich and varied materials, the

lamps casting the walls with

the Raketa Studio team and made

centre. Its architecture, designed

structured ceiling and wall covers;

graphic patterns further prove

in Slovenia to promote the local

sonblu.

by the architect Sandi Trajkov, is

the different reflections of light

that lighting was among the

know-how and tradition.

austere and minimalistic, while the

radis

against the structured surfaces

top considerations in designing

H.S.

w.

interior design of the lobby, the first

create secluded and intimate

the interior; graphic design is

w w

3. 1





3. 2

Ex-novo

205

The Farewell Chapel on Krašnja entrance way into the supporting wall, source of natural sunlight in daytime studio founded in 1996 by Rok Cemetery was built according

concealing the service spaces (storage

and illuminates its surroundings at

Oman and Špela Videčnik, both

to plans selected in a competition

room, lavatories, kitchenette). A glazed

night through integrated lamps. The

graduates of the Ljubljana School

in 2005. It was constructed at the

partition wall enables communication

main materials used are polished

of Architecture and the London

foot of a slope and is partly cut into

between the interior and the outside

concrete, larch wood, and glass. The

Architectural Association. They

the terrain. The ground plan and

courtyard entrance. A cross-shaped

project won ArchDaily Building of

are based in Ljubljana, but work

the curved walls echo the contours

opening in the centre of the grass

the year 2009 Award for Religious

internationally (Venice, Graz, Paris,

of the surroundings. The interior

covered walkable roof, extended over

Buildings and was nominated for the

Borisov) and exhibit worldwide,

curved wall encloses the central

the exterior walls to provide a canopy

Mies van der Rohe Award in 2010.

most notably at the Venice Biennale

space and continues towards the

over a part of the courtyard, provides a

OFIS Arhitekti is an architectural

of Architecture in 2004. S.K., H.S.

3. 2





3. 3

Ex-novo

206

The Celjska koča Alpine Hotel meters, is a unique dominant in the Grmada. Preserving the view villages, featuring a double façade

stands beside a small Slovene

mountain landscape. The shape

guided the design of the interior

with an outer transparent layer of

ski slope under Tolsti vrh, in the

of the building with a sun terrace

spaces.

horizontal laths made of untreated

si

middle of a forested hilly landscape

on one side takes into account the

The design of the façade follows

larch wood. In 2007, the project

ca.

on the southern part of the Celje

steep slope that allows unhindered

the principles of construction

for Celjska koča Alpine Hotel won

valley. The Hotel, set on an exposed

panoramic view over the valley,

applied in building Slovene barns

the Plečnik’s Award and the Golden

natural plateau at altitude 652

especially toward the rocky hill

and hayracks, still in use in local

Pencil Award. S.K.

celjska-kow.w w

3. 3





3. 4

Ex-novo

207

KSEVT is the headquarters of an station described in Potočnik’s book The in the middle. The inclined flooring A part of the rooftop is planted eponymous institute, promoting

Problem of Space Travel - The Rocket

creates a sensation of walking in a

with grass, visually connecting the

research in the fields of space

Motor from 1929.

space station situated in the outer

architecture with the village and the

culturalization. It is located in the

The building is a concrete monolith

space and echoes a similar solution

surrounding landscape. The four

centre of the village Vitanje, the

consisting of two low cylinders. The

in the Town Museum of Ljubljana,

leading studios involved received a

eu

birthplace of the spaceflight pioneer

evt.

dynamic relation of the two creates an

designed by Špela Videčnik and Rok

number of Slovenian national awards

Herman Potočnik Noordung (1892–

impression of levitation and rotation.

Oman. The smaller cylinder of the

for their collaboration. They were also

w.ksw

1929). The design derives from the

The central hall and the surrounding

building with the study and research

among the nominees for the Mies

w

plans for a habitable wheel, one of the main corridor-like exhibition area are area can be reached from the highest

van der Rohe Award, the EU Prize for



three parts of a geostationary space

both connected through a round opening

point of the circular exhibition space.

Contemporary Architecture. H.S.

M

3. 4





3. 5

Ex-novo

208

The Kindergarten, located in a

geometrically and functionally tied

solutions of spatial design. The

layout is designed to allow further

green area close to the modernist

to the neighbouring building, the

playrooms are connected to a

partitioning of the spaces, allowing

industrial settlement Kidričevo

Boris Kidrič Grammar School (the

light-flooded corridor through

an additional increase of the number

(founded in the late 1950s) is made

architects Gregorski and Vogelnik

wide, double doors and slides,

of units.

up of three architectural wings

Saje also designed the school gym

transforming it into additional play

For her projects in Kidričevo Mojca

enclosing green, tree-lined surfaces.

and playground in 2011).

area; a spray-fountain located in the

Gregorski was declared as one of

The two ground-floor wings intended

The Kindergarten interior reveals

toilet area also provides possibility

Europe’s most important emerging

for children of different age groups are

large glazed surfaces enabling visual

for play. The whole complex is built

young architects and designers

connected by a multi-purpose space.

interaction between the interior

of different materials, with their

(“Europe 40 under 40”) in 2014 by the

The third wing, housing management

and exterior spaces, as well as

variety particularly evident in the

Chicago Aethenaeum Museum of

offices, kitchen and a cafeteria, is

diverse light effects and imaginative

bright and colourful interior. The

Architecture and Design. F.L., H.S.

3. 5





3. 6

-novo

ex

and

tion

enovaR

209

n

dio

The "Ljudski Vrt" Stadium in submitted under the “Project Ring” the old and the new elements.

being planned, focusing particularly

Maribor was built in 1952

title. The latter is a good description

The renovation not only increased

on designing gyms, club offices,

after plans by Milan Černigoj, with

of the architecture. The modern,

the capacities of the Maribor's

conference halls and offices for

r.com/klub/sta

spectator stands added by Boris

double-glazed stand is shaped as a

central stadium (it can now host

rent in the area below the stands,

aribo

Pipan in 1961.

curve encircling the grass from three

up to 12,435 spectators), but also

as well as restoring the old stands

nkm

The extensive renovation of the

sides. A concrete arch connects it with

enriched the cityscape with a new,

by Pipan.

w.w

complex is noted particularly for the the older stands (on the western part, well-designed contemporary sports

H.S.

w

new spectator stands, built after

next to Kajuhova ulica) covered by the

complex.



the winning competition proposal

same wavy roof, visually connecting

Further renovations are currently

3. 6





pioneer

Born to a middle class family, Gizela Šuklje started at the Mirje Roman Wall, the Šentjakob/Levstik Square, the Baraga Seminary her studies in architecture at the Faculty of

and the town Stadium.

Technology in Ljubljana in 1927−28 and graduated

Plečnik was commissioned to build the Stadium by the Orel Catholic

in 1932 in a seminar by Professor Jože Plečnik, who

Sport Association and was initially assisted by student Ivan Pengov.

considered the profession of architecture to be similar

Construction started as early as 1925, but soon came to a halt due to

to that of a priest - reserved for men only. Šuklje was

insufficient funding and political circumstances, which led to the dissolution his first female student and the second female to

of Orel in the period of the 6th January Dictatorship. Several years later,

graduate at Ljubljana University. She won the French

Gizela Šuklje devised a new project for the Stadium in her bachelor thesis.

national scholarship to study at the Institut d’Art et

When Plečnik returned to the project, which was now to be used as the venue

Gizela Šuklje

d’Archèologie at the Sorbonne. While continuing her

for the Eucharist Congress of 1935, he created the project for the Celebratory studies in Paris (1933−34), she worked in the atelier

Stands together with his former student Šuklje. The stands were constructed

210

of architect Auguste Perret (1874−1954), drawing plans for his house on

along the shorter, western side of the Stadium and composed of a massive,

the outskirts of Paris. Other Slovenians who studied architecture in Paris

rusticated ground floor made of stone and a contrasting open first floor,

did so in Le Corbusier’s studio - Šuklje was the only one to study with Perret divided by four Doric columns on each side.

and was recommended to him by Plečnik. Šuklje was a highly skilled and

Plans for the Town Hall in Metlika, 1944−45

talented draftswoman. Upon her return to Ljubljana she became an assistant

volunteer at the University of King Alexander I and also worked in Plečnik’s

studio (Prelovšek 1994: 8). She passed her professional architectural exam

in Belgrade in 1938 and later obtained a permanent position at the Ljubljana

Magistrate building department, again with Plečnik’s recommendation

(Plečnik was known to help advance his most talented students’ careers in

this way). The post enabled her to collaborate with her former teacher on

some of Ljubljana’s most important projects of the 1930s and 1940s: the

National and University Library, the Central Market, the Archaeological Park



Šuklje also developed projects for the Tivoli Park children’s playground

drawing, design and the history of decorative arts at the present-day High

and the canopy over the entrance to the open air sports grounds; she also

School for Design and Photography in Ljubljana, later becoming headmistress

drafted drew the first plans for Žale Central Cemetery, renowned for its

(1969–73). She designed several books, proving herself as an excellent

monumental arched entrance, several small chapels and other constructions,

graphic designer, and was also interested in vernacular architecture, a subject including the tomb of Archbishop Anton Bonaventura Jeglič. She also worked

on which she elaborated in her article on the impact of weather conditions on on Plečnik’s other projects throughout the Kingdom of Yugoslavia: she drafted the design of houses and villages in Slovenian Istria (1952).

plans for Villa Epos at Bled Lake, the Church of the Holy Mother of Lourdes in The first urban design for the town of Metlika (1945) stands out among

Zagreb (only the crypt was built), the Jesuit monastery and church in Osijek

her independent architectural projects. The architect proposed elaborate

(demolished in 1948), and the church of Saint Antony of Padua in Belgrade,

plans for the Town Hall, the public baths and the town’s public school,

for which she developed plans for the entire interior decoration including the although only the project for the park in front of Metlika Castle (home to the Holy Tomb and the altar of the Annunciation (Zupančič 2009: 15).

Museum of Bela Krajina) was carried out (Zupančič 2013: 70−75). Located

The drawings she made of Plečnik’s projects were published in

on a hill and divided into a series of cascading terraces it was created in

collections of the architectural master’s essays, Architectura Perennis (1941) the early 1950s. The trees and shrubbery provide a leafy background for the

211

and Napori (1955), and represent an outstanding contribution to Slovenian portrait sculptures of prominent citizens of Metlika, such as the sculptor Alojz architectural drawing (Prelovšek 1994: 8).

Gangl and poet Oton Župančič. The low stone walls surrounding the park are

In 1946, Šuklje became

particularly fitting with the surrounding architecture of the main town square.

a professor at the State

The plants vary in size and height and were arranged in such a way as to bring School for Handicrafts

attention to the main entrance of the museum, creating a visual connection

in Ljubljana. A year

between the square and the castle. Šuklje used a similar approach in her

later she was sent to

plans for the town park in Krško, where she divided the area into smaller

Sarajevo in Bosnia and

entities using minimal architectural language, public monuments and plants.

Hercegovina to work

The documents making up Šuklje’s professional legacy, and which are

on the city’s urban

kept at the Museum of Architecture in Ljubljana, attest to her broad creativity, planning. She returned

which spanned a variety of fields such as architecture, interior design, book to Ljubljana in 1948

design, urban planning, landscaping, writing, teaching and the conceiving of

and started teaching

tombstones and public monuments, firmly placing her amongst the foremost

typography, construction

female pioneers in Slovenian architecture.

Celebratory Stands at Bežigrad Stadium,

Ljubljana, 1935,

Bibliography

Index of Women Architects and Designers





Acknowledgements


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A

Bosse, Mieke 144, 153

Dekkers, Jeanne 144, 148, 165, 174

Abraham, Janine 80, 84

Brachet, Louise 79

Dionigio, Loredana 127

Afonso, Sara 71

Bratuž, Vladimira Laka 186

Dobravec Lajovic, Majda 178

Aljaž, Katja 205

Brender Rubira, Margarita 44

Domènech, Lola 27, 32

Almada Negreiros, Catarina 55

Brito Alves, Margarida 54

Almada Negreiros, Rita 55

Buffi, Marianne 130

E

Amadó, Roser 17, 24, 44

Bursi, Ada 108, 139−140

Eames, Ray 171

Antunes, Sónia 72

Audisio, Giuseppa 139

C

F

Aulenti, Gae 80, 87, 128, 137

Campos de Michelena, Pascuala 44

Falkenberg Liefrinck, Ida 175

219

Carvalho, Carmo 52

Faria, Celia 54

B

Catino, Cristiana 135, 136

Faria, Estrela 71

Bagliani, Francesca 135, 136

Comoglio, Adriana 123, 124

Felip, Olga 17, 25

Balcells, Conxita 40

Comoli Mandracci, Vera 108

Figueras, Bet 36, 39

Bandeira, Marta 52

Cortesão, Inês 54

Filipič, Polona 197

Banfi, Sandra 194

Coscia, Alessandra 122

Fornazarič Kocmut, Majda 178

Baptista, Marisa 199

Cottinelli Telmo Monteiro da Costa, Ana 50

Forsans, Marie-Pierre 117

Barbas, Patrícia 53, 67, 74

Crasset, Matali 80, 88

Fuksas, Doriana 120

Beltram Prekovič, Tinka 201

Cristofaro Rovera, Marietta de 108

Furet, Catherine 90, 96, 98, 103

Benamo, Georgia 79

Bennasar, Isabel 36, 42

D

G

Berengué, Mercé 27, 33

Davar Panah, Shohreh 90, 92, 95

Gabrovec, Nena (Andreja) 187

Bodecher, Renée 79

Deabate, Marina 112

Galí, Beth 36, 41

Bofill, Anna 36, 43, 44

De Lima, Viana 46

Galí, Teresa 32

Bosio, Elena 122

Decq, Odile 80, 82, 90, 93

Garda, Emilia 118

Gariboldi, Marina 138

K

Mathé, Juliette 79

Garouste, Elisabeth 80, 86

Kanc, Marjanca 178

Merkx, Eveline 146

Gasille, Marya 155

Keil, Maria 55, 57, 63, 75−76

Morgan, Julia 78

Gatti, Claudia 114

Kham Pičman, Alenka 178

Mulder, Jakoba Helena Ko 144, 147,

Gatti, Paola 135, 136

Koren, Uršula 200

149, 175

Gautrand, Manuelle 80, 89, 98, 100, 101

Kozina, Nina 193

Muxi, Zaida 44

Girard, Edith 90, 94, 98, 104

Kranjc, Katjuša 204

Grácio Nunes, Margarida 65

Kregar, Majda 178, 182

N

Grafenauer Vogelnik, Marija 178

Kropholler, Margaret 144, 154, 175−176

Negreiros, Almada 71

Grasseli, Katarina 178

Krulc, Juta 189

Neřima, Majda 178

Gregorič, Tina 207

Krušec, Lena 206

Noguera, Anna 42

Gregorski, Mojca 208

Kučan, Ana 192

Nunes da Ponte, Teresa 55, 57, 62, 72

Grifoni, Paola 113

Kuhar, Špela 184

Grillone, Elena 119

O

Gužič Trplan, Mojca 193

L

Oman, Neža 199

220

Lacka, Magdalena 205

Ostanek, Petra 201

H

Lanzavecchia, Carla 119

Helg, Franca 116

Lavezzo, Emanuela 113, 119

P

Higino, Vera 64

Leboucq, Patricia 98, 102

Panter, Mateja 184

Hogenboom, Katja 171

Lenti, Maria Carla 132

Peris, Marta 27, 37

Houben, Francine 146, 172, 173

Líbano, Pilar 17, 22

Perriand, Charlotte 78, 105−106

Lipicer, Martina 199, 205

Perugini, Alessandra 113

J

Lleó, Blanca 36, 38

Petrazzini Levi, Laura 108, 134

Janet, Janine 80, 85

Pinós, Carme 17, 26

Jekyll, Gertrude 78

M

Pirih, Barbara 193

João, Rita 56, 66

MacDonald Mackintosch, Margaret 78

Planišček, Anja 187

João Eloy, Maria 61, 67, 70

Marques da Silva, Maria José 46

Podbregar, Lidija 178

Maseras Ribera, Maria Elena 44

Prochio, Elena 131

Massa, Maria Teresa 115

Pustoslemšek, Stanislava 200

Q

Smerdu, Mojca 184

V

Quintanilha, Olga 46, 67, 73

Snel, Helga 148, 174

Van der Pol, Liesbeth 144, 150, 151, 165, 170

Somers, Wieki 159

Venda, Cátia 52

R

Stam Beese, Lotte 143, 155, 158, 161, 175

Videčnik, Špela 199, 205, 207, 209

Ramié, Suzanne 80, 83

Steinback, Sabine von 78

Vidergar, Alenka 184

Ravnikar Ivanšek, Marta 178

Stinissen, Liesbeth 155

Vilhena, Joana 51, 57, 60

Rebelo Pinto, Maria 54

Stura, Rosalba 119

Vogelnik Saje, Ajda 208

Reich, Lilly 78

Volpi, Cristina 113

Ribas, Carmen 27, 31

Š

Vos, Joke 155, 162

Ribetti, Erica 131

Šantel, Dušana 178

Vozlič, Vesna 179

Rocio, Sílvia 55

Štupar Šumi, Nataša 178

Vurnik, Helena 178, 183, 189

Rohmer, Marlies 144, 148, 152, 163, 165, 169

Šuklje, Gizela 178, 179, 210−211

Roskam, Iris 160

W

221

Rosso, Natalia 122

T

Wal, Ellen van der 146

Rot, Barbara 178, 179, 196

Tabò, Martina 126

Wieland, Barbara 153

Ruys, Mien 143

Tagliabue, Benedetta 17, 21

Ružič Kraigher, Mira 178

Taillandier, Ingrid 90, 97

Y

Tarrasó, Olga 27, 30

Yanovshtchinsky, Vera 164

S

Tiazzoldi, Caterina 133

Sabino, Marina 64

Tisi, Marcella 125

Z

Santos Silva, Vanessa 52

Tomšič, Erna 178, 188

Zanetti, Silvia 131

Sarti, Giulia 138

Toussaint, Isabelle 126

Zazurca y Codolà, Mercè 17, 20

Savelli, Teja 198

Zorec, Maruša 195, 201

Schröder Schräder, Truus 165, 168, 175

U

Zuccotti, Giovanna Maria 132

Schulz Dornburg, Julia 27, 35

Ucelay Maortúa, Matilde 44

Zupan, Eva 192

Scott Brown, Denise 24

Urbano, Paola 118

Serra Barenys, Mercedes 44

Urquiola, Patricia 17, 23

Ž

Silva, Sónia 64

Žlajpah, Katja 194, 209

WOMEN PROFESSIONALS (Architect/Engineers/Designers)

Barcelona

Lola Domènech

Lisbon

Catarina and Rita Almada Negreiros, Marta Almeida Santos, Inês Cortesão, Ana Costa, Teresa Nunes da Ponte Paris

Matali Crasset, Manuelle Gautrand, Patricia Le Boucq

222

Turin

Francesca Bagliani, Marianne Buffi, Cristiana Catino, Adriana Comoglio, Alessandra Coscia, Marina Deabate, Loredana Dionigio, Marie-Pierre Forsans, Emilia Garda, Marina Gariboldi, Claudia Gatti, Paola Gatti, Paola Grifoni, Elena Grillone, Emanuela Lavezzo, Carla Lanzavecchia, Maria Teresa Massa, Alessandra Perugini, Elena Procchio, Erica Ribetti, Natalia Rosso, Giulia Sarti, Rosalba Stura, Caterina Tiazzoldi, Isabelle Toussaint, Marcella Tisi, Paola Urbano, Cristina Volpi, Silvia Zanetti

The Netherlands

Jeanne Dekkers, Katja Hogenboom, Hanneke Oosterhof, Liesbeth Van der Pol, Helga Snel, Joke Vos Slovenia

Špela Kuhar, Barbara Viki Šubic, Polona Filipič

STUDIOS

Barcelona

Estudio P.Líbano, Estudio Carme Pinós, Ignasi Querol, Espinàs i tarrasó SCP, Peris+Toral.Arquitectes, Estudi Jordi Bernardó, Conxita Balcells Associats Lisbon

Pedria Studio, tnp arquitectura, Bica Arquitectos, CAN RAN, Barbas Arquitectos Turin

Crotti Forsans Architetti Studio Associato, Derossi Associati Studio di Architettura, Hugh Dutton Associés, Jean-Pierre Buffi & Marianne Buffi, Negozio Blu Architetti Associati, Promo.ge.co S.r.l., Studio Architetti Deabate, Studio De Ferrari Architetti, Studio Granma Architetti Associati, Torpego Architetti, Tra Architetti

223

The Netherlands

Mecanoo

INDIVIDUALS

Barcelona

Bárbara Barrera, Jeanne de Bussac, Sergio Vendrell Felici, Roger Casas, Adrià GoulaBlanca Lleó, Blanche Carreras David, Jordi Bernadó, Oriol Ribes, Anna Bofill, Serena Vergano

Lisbon

Mário Almeida, Sérgio Catumba, Espaço Espelho D’Àgua, Fernando Guerra, Daniel Malhão, Paulo Mendonça Conceição, Francisco Nogueira Slovenia

Nejc Bernik, Miran Kambič, Žiga Okorn, Božo Rot, Bogo Zupančič

INSTITUTIONS

Barcelona

Jose Hevia Fotografía; Ricardo Bofill Taller de Arquitectura

Lisbon

Embaixada - Concept Store, Ritz Hotel, Lisboa; Sistema de Informação para o Património Arquitetónico, Lisboa Paris

Opéra Garnier Restaurant , Paris; Photothèque des Arts Décoratifs, Paris

Turin

Ordine Degli Architetti Pianificatori Paesaggisti e Conservatori della provincia Di Torino; Fondazione per l’architettura/Torino; Ordine degli Ingegneri della provincia di Torino

224

The Netherlands

Het Nieuwe Instituut, Rotterdam

Slovenia

Centre of Architecture Ljubljana; Celjska koča, Celje; Center urbane kulture Kino Šiška, Ljubljana; Družinski center Mala ulica, Ljubljana; Hotel Špik, Gozd Martuljek; Javni zavod Ljubljanski grad, Ljubljana: Kulturno središče evropskih vesoljskih tehnologij (KSEVT), Vitanje; Mestni muzej Ljubljana; Muzej slovenskih filmskih igralcev, Divača; Muzej za arhitekturo in oblikovanje (MAO), Ljubljana; Osnovna šola Idrija, Idrija; Penzion Zaka. Veslaški center Bled, Bled; Radisson Blu Plaza Hotel, Ljubljana; Slovensko Marijino narodno svetišče, Brezje; Stadion Ljudski vrt, Maribor; Thalasso Spa Lepa Vida, Sečovlje; TIC Postojna, Postojna; Vrtec Kidričevo, Kidričevo; Zavod za šport Republike Slovenije Planica, Ljubljana; Župnija Krašnja, Krašnja; Župnija Ljubljana Šiška, Ljubljana.

Barcelona

1.1 ©SiTI, Mariacristina Forcisi

1.2 ©SiTI, Mariacristina Forcisi

1.3 ©Jordi Ferrer and P. Libano Studio

1.4 L: Source: Estudio Carme Pinós, ©Jeanne de Bussac; R:

225

©SiTI, Mariacristina Forcisi

1.5 ©Josep Losada

1.6 ©SiTI, Mariacristina Forcisi

1.7 ©SiTI, Mariacristina Forcisi

2.1 ©Espinàs i Tarrasó

2.2 ©Roger Casas

3.1 ©Blanca Lleó

2.3 ©Adrià Goula

3.2 L: ©Valérie et Agnes (Wikipedia); R: ©Felix König

(Wikimedia Commons)

2.4 ©SiTI, Mariacristina Forcisi

3.3 ©Jordi Bernardó

2.5 L: source: Peris+Toral.Arcquitectes; R: ©José Hevia

3.4 ©Pere López (Wikimedia Commons)

2.6 source: http://es.letsbonus.com/barcelona/l-observatori-

fabra-sopars-amb-estrelles-2013-08-01-letsbonus-

3.5 ©SiTI, Mariacristina Forcisi

daily-198938

3.6 ©Ricardo Bofill Studio

Lisbon

1.1 source: Ana Costa

1.2 L: ©Luisa Ferreira; R: ©Fernando Guerra

1.3 source: Embaixada – Concept Store

1.4 ©Sérgio Catumba

1.5 ©Inês Cortesão

226

1.6 source: CAN RAN

1.7 ©Francisco Nogueira

2.1 ©Fernando Guerra

2.2 source: Sistema de Informação para o Património

Arquitetónico

3.1 ©Fernando Guerra

2.3 ©Fernando Guerra

3.2 ©João Pardal Monteiro

2.4 ©Marta Almeida Santos

3.3 source: Teresa Nunes da Ponte, arquitectura

2.5 ©Fernando Guerra

3.4 ©Paulo Mendonça Conceição

2.6 ©Fernando Guerra

3.5 ©Daniel Malhão

2.7 source: Mário Almeida

Pioneer source: ©Keil do Amaral Family Archive; ©Márcia Gomes

Paris

1.1 source: Opéra Garnier Restaurant, ©Roland Halbe

1.2 ©Photothèque des Arts Décoratifs, Jean Tholance

1.3 ©Photothèque des Arts Décoratifs, Jean Tholance

1.4 ©Photothèque des Arts Décoratifs, Jean Tholance

227

1.5 ©Photothèque des Arts Décoratifs, Jean Tholance

1.6 ©SiTI, Marco Cavallero

1.7 source: Matali Crasset; ©SiTI, Marco Cavallero, © JasonW

1.8 L: source: Manuelle Gautrand; R: ©SiTI, Marco Cavallero

2.1 L: ©Ducros- LBDMimages, M. Patacchini; R: ©SiTI, Marco

Cavallero

2.2 ©SiTI, Marco Cavallero

3.1 ©SiTI, Marco Cavallero

2.3 ©SiTI, Marco Cavallero

3.2 L: source: Manuelle Gautrand; R: ©Vincent Fillon

2.4 L: ©SiTI, Marco Cavallero; R: source: Creche Lauzin,

3.3 L: source: Patricia Le Boucq; R: ©SiTI, Marco Cavallero

©Studio Davar Panah-Sarre Paris

3.4 L: ©SiTI, Marco Cavallero; R: ©Jean-Marie Monthiers

2.5 ©SiTI, Marco Cavallero

3.5 ©SiTI, Marco Cavallero

2.6 source: Public domain

Pioneer source: Public domain

Turin

1.1 L: ©POLITO, Annalisa Stella; R: ©Studio Architetti Deabate

1.2 L: ©UIFS ZRC SAZU, Andrea Furlan; R: ©Archivio

Fotografico Fondazione Torino Musei

1.3 ©Studio Deferrari Architetti

3.1 ©POLITO, Caterina Franchini

1.4 L: ©POLITO, Annalisa Stella; R: ©Studio Derossi Associati

3.2 ©POLITO, Caterina Franchini

1.5 ©POLITO, Annalisa Stella

228

3.3 ©POLITO, Caterina Franchini

1.6 ©POLITO, Annalisa Stella

3.4 ©POLITO, Annalisa Stella

1.7 ©Roberto Tealdi

3.5 ©POLITO, Caterina Franchini

1.8 L: ©Museo Nazionale delle Montagne – CAI Torino;



R: ©Emanuela Lavezzo

3.6 ©POLITO, Annalisa Stella

3.7 ©POLITO, Annalisa Stella

2.1 ©POLITO, Annalisa Stella

3.8 ©POLITO, Annalisa Stella

2.2 ©POLITO, Annalisa Stella

3.9 L: ©POLITO, Annalisa Stella; R: ©POLITO, Caterina Franchini

2.3 ©POLITO, Annalisa Stella

Pioneer source: ©Archivio Storico del Politecnico di Torino

- ASPoliTo, Fascicoli personali studenti; ©Gino Levi

2.4 ©Marcella Tisi

Montalcini, “Memoria di Partigiani”, Agorà 6 (1946) 33;

2.5 Source: Azimut Club

©“Astrattismo in Casa”, Domus, 232 (1949) 31; ©Caterina

2.6 ©POLITO, Caterina Franchini

Franchini

The Netherlands

1.1 ©Marjan Groot

1.2 ©Marjan Groot

1.3 ©Marjan Groot

1.4 ©SiTI, Sabrina Espeleta

1.5 ©SiTI, Sabrina Espeleta

229

1.6 L: ©Marjan Groot; R: ©SiTI, Sabrina Espeleta

1.7 ©SiTI, Sabrina Espeleta

1.8 ©Marjan Groot

3.1 L: ©Martijn van Beek; R: ©Rietvelt Schröderarchief,

1.9 ©Marjan Groot

Centraal Museum, Utrecht/pictoright

3.2 ©SiTI, Sabrina Espeleta

2.1 ©Hanneke Oosterhof

3.3 ©Liesbeth van der Pol

2.2 ©SiTI, Sabrina Espeleta

3.4 ©Katja Hogenboom

2.3 ©Joke Vos

3.5 ©Rosa te Velde

2.4 ©Rosa te Velde

3.6 ©Mecanoo

2.5 ©Rosa te Velde

3.7 ©Jeanne Dekkers

2.6 ©Sanderijn Baanders

Pioneer source:

2.7 ©A. Baanders

©Het Nieuwe Instituut, Rotterdam; ©Marjan Groot

3.1 source: Radisson Blu Plaza Hotel

Slovenia

3.2 ©UIFS ZRC SAZU, Helena Seražin

1.1 ©UIFS ZRC SAZU, Andrea Furlan

3.3 ©UIFS ZRC SAZU, Helena Seražin

1.2 ©UIFS ZRC SAZU, Andrea Furlan

3.4 ©UIFS ZRC SAZU, Helena Seražin

1.3 Source: Špela Kuhar, ©Blaž Budja

3.5 ©UIFS ZRC SAZU, Helena Seražin

1.4 ©UIFS ZRC SAZU, Andrea Furlan

3.6 ©UIFS ZRC SAZU, Helena Seražin

1.5 ©UIFS ZRC SAZU, Andrea Furlan

Pioneer source: ©MAO; ©UIFS ZRC SAZU, Andrea Furlan;

1.6 ©UIFS ZRC SAZU, Andrea Furlan



©Damjan Prelovšek

230

1.7 ©UIFS ZRC SAZU, Andrea Furlan

2.1 ©Miran Kambič

2.2 ©Miran Kambič

2.3 ©UIFS ZRC SAZU, Andrea Furlan

2.4 ©Miran Kambič

Credits for maps

2.5 ©UIFS ZRC SAZU, Simona Kermavnar

Andrea Furlan and Enrico Eynard

2.6 ©UIFS ZRC SAZU, Andrea Furlan

Sources: Esri, HERE, DeLorme, TomTom, Intermap, increment

P Corp., GEBCO, USGS, FAO, NPS, NRCAN, GeoBase, IGN,

2.7 ©UIFS ZRC SAZU, Andrea Furlan

Kadaster NL, Ordnance Survey, Esri Japan, METI, Esri China

2.8 ©UIFS ZRC SAZU, Andrea Furlan

(Hong Kong), swisstopo, MapmyIndia, © OpenStreetMap

2.9 ©UIFS ZRC SAZU, Helena Seražin

contributors, and the GIS User Community

231

M

CIP - Kataložni zapis o publikaciji

Narodna in univerzitetna knjižnica, Ljubljana

72(4)

72-051-055.2

MoMoWo: Women: Architecture & Design Itineraries across Europe / [edited by Sara Levi Sacerdotti, et al.]. - 1st ed. - Ljubljana : Založba ZRC, 2016

ISBN 978-961-254-906-0

1. Levi Sacerdotti, Sara

284877568

COVER_MOMOWO_GUIDE_01.indd 3

10. 06. 16 10:25

ISBN 978-961-254-906-0

9 789612 549060

not for sale

COVER_MOMOWO_GUIDE_01.indd 4

10. 06. 16 10:25