Courtesy of Aerial Futures

Aerial Futures, Grounded Visions: Shaping the Airport Terminal of Tomorrow was a two-day symposium held in October 2016 as part of the European Cultural Center’s collateral event at the 2016 Venice Biennale. It encouraged discussion about the future of air travel from the perspectives of architecture, design, technology, culture and user experience. The event featured presentations and discussions by the likes of airport architect Curtis Fentress, Nelly Ben Yahoun, Donald Albrecht, Director of the Museum of the City of New York; Anna Gasco, post-doctoral researcher at the ETH-Future Cities Laboratory in Singapore; Jonathan Ledgard, co-founder of the Droneport Project; and Ashok Raiji, Principal at Arup New York.

Airports and the aviation industry are at the frontline of global demographic shifts, acting as economic engines and cultural icons. Despite being among the youngest of building typologies, airports are taking the lead as intricately-designed, highly frequented and resource-intensive structures that define how we travel, trade and connect with each other.

Keynote: Curtis Fentress, Principal Terminal Designer at Fentress Architects

Fantastic Infrastructure: 21st Century Terminals

We are all familiar with current terminal paradigms, from Arrivals to Departures and all of the complex spatial gymnastics in between. What do advances in technology and contemporary demands on air travel infrastructure mean for the terminals of the future – and how do past projects inform current trajectories?

• Christian Henriksen, Nordic Office for Architecture
• Jonathan Ledgard, The Droneport Project / EPFL Lausanne
• Dr. Wayne Place, NC State University College of Design
• Ashok Raiji, Arup New York
• Moderated by Donald Albrecht, Museum of the City of New York

Icons and Engines: Catalysts for Urban Development

The 21st century has seen an increase in high-profile terminals that act as economic engines and emblematic portals for cities. In an era of global competition between cities – in addition to nations – superior airports have a significant influence. Development –and redevelopment– play a critical role defining the urban and even regional dynamics beyond the airport. How can a single building have cultural, economic and political implications?

• Anna Gasco, ETH Zurich / Future Cities Laboratory
• Max Hirsh, University of Hong Kong
• Alex Sutton, Sevil Peach Architecture + Design
• Andrew Vasey, Vasey Aviation Group
• Moderated by Andres F. Ramirez, PLANE—SITE

Keynote: Nelly Ben Hayoun, award-winning director and experience designer

Getting to Departures: User Experience

Architecture facilitates the intricate transition between airspace and passengers’ much-anticipated destinations. Moving through time and space in airport terminals is still often perceived as more of an obstacle than an enjoyable experience. As interaction with terminal infrastructure increases in frequency and engagement, airports can offer travellers choices to relieve the stress of travel. How should architects balance functional design, digital interfaces, place specificity and comfort to heighten user experiences across the board?

• Frank Barich, Barich Consulting
• Tom Theobald, Fentress Architects
• Sila Siva, Autoban
• Martin Zangerl, UNStudio
• Moderated by George Kafka, &beyond collective

Landing in the World of Tomorrow

A bit of speculation is essential when we consider the future of airports. Trends and demographic shifts may help forecast the future of air travel and infrastructure. If change is constant on all are fronts, what are the critical considerations when projecting future scenarios? How will architecture adapt to transformations in the aviation industry and the culture of global travel over the next century?

• Miklos Deri, Drive Through Airport
• Agatha Kessler, Embry-Riddle Aeronautical University
• Tobias Nolte, Certain Measures
• Ostap Rudakevych, Clouds Architecture Office
• Moderated by Lukas Feireiss, Studio Lukas Feireiss

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© Vincent Monthiers

• Architects: Patrick Arotcharen Architecte
• Location: 40230 Saubion, France
• Architect In Charge: Patrick Arotcharen and Julie Pimenta de Miranda
• Landscape Architect : EMF Marti Franch
• Area: 997.0 m2
• Project Year: 2015
• Photographs: Vincent Monthiers , Mathieu Choiselat

© Mathieu Choiselat

Site Plan

From the architect. Right in the heart of the Landes region of France, this hotel installation interacts with a landscaped tableau where human intervention is in dialogue with nature. The first stage of the project consists in transforming the existing lake into a landscape of dunes crowned with slender pines: the dredged sand is heaped up around the edges of the lake in order to create little bays where the bungalows lie. Built in wood, these are characterised by a notably prismatic arrangement which favours openings onto the lake whilst conserving the privacy of the occupants.

© Mathieu Choiselat

© Mathieu Choiselat

The pavilion’s oblique lines, as well as the reception building’s, form a contrast with the rounded dunes and the linear canopy behind. The harmony between the constructions and the environment is not built on imitation: the architecture and the site are defined by a contrasting homology. Placed over the water that mirrors them, these small, autonomous units are a point in the landscape and allow nature to form a continuous milieu. Different pathways snake between the hills and, through the variety of perspectives on offer on the site, this feeling is confirmed.

© Mathieu Choiselat

Product Description:

The project was developed with the aim of using as many local resources as possible (maritime pines_Landes Forest). Constructed in timber and steel, the material elements respond to the desire to reduce the architectural impact within this landscape.

Detail

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© Christian Richters

• Architects: Casanova+Hernandez architects
• Location: Shkodër, Albania
• Architect In Charge: Jesus Hernandez, Helena Casanova
• Advice Photo Curator: Kim Knoppers
• Historian: Zef Paci
• Local Architect: Atelier 4
• Structural Engineer: Diana Lluka
• Mechanical Engineer: Spiro Drita
• Electrical Engineer: Dëshire Mena
• Constructor: R&T Group
• Area: 1138.0 m2
• Project Year: 2016
• Photographs: Christian Richters, Courtesy of Casanova+Hernandez, Blerta Kambo

Site Plan

© Christian Richters

From the architect. In 2013, the Albanian Ministry of Culture envisioned a plan to rebuild the cultural infrastructure reactivating abandoned historical buildings. The Marubi Museum is a pioneer project of this programme. The plan to create the museum has enjoyed an enormous national repercussion because of the historical importance of exhibiting, among others, the photographic legacy created during more than one century by three generations of photographers from the Marubi family. 

© Christian Richters

Dialogue between tradition and modernity 

The design for the Marubi Museum aims to promote a rich dialogue between tradition and modernity, between the past and the present. The legacy of the tradition is underlined by restoring the historical building designed by the Albanian architect born in Shkodër, Kolë Idromeno, while preserving its spatial and structural qualities without any volume transformation or new interior partitions. Conceptually, Idromeno’s building becomes an important “object” of the exhibition to be shown, contemplated and visited. 
A modern image associated to the new museographic program is achieved by installing five “functional boxes”, which are prefabricated and detached from the original building, working as pieces of furniture or sculptural elements. Tradition and modernity establish a dialogue in every corner of the building. At the exterior of the museum, a showcase element works as a landmark that indicates the museum entrance; in the interior of the building, the original windows and spatial qualities of the building dialogue with the exhibition boxes; and in the courtyard, the old building coexists with a new modern volume. 

© Christian Richters

Section

Open, accessible and alive cultural landmark 

On the one hand, the museum program expands into the public space and one of the “functional boxes” becomes a showcase installed in front of the museum, serving as a landmark that invites citizens to visit it. On the other hand, public space enters the museum and the project erases the border between street and institution with a transparent and accessible ground floor that hosts a free-entrance multifunctional space for lectures, workshops and temporary exhibitions. As a result, the project intends to create an open and alive museum capable of becoming a cultural landmark linked to the street life of Shkodër. 

© Christian Richters

Museum Identity 

The modern image of the museum is based on an abstract pattern, which is inspired by the geometry of the aperture of the photographic camera that opens and closes to control the light. This abstract pattern is used to design the structural layout of the five exhibition boxes installed in the building, integrating as well a complete and versatile exhibition system that includes frames to exhibit photos and documents, showcases for objects and video screens for slide-shows and short movies. 

© Christian Richters

© Christian Richters

The abstract pattern, which is always mixed with the photos and objects of the collection, becomes the symbol of the museum. It can be recognized at different scales and in several parts of the building such as in the logo of the museum, in the design of the street showcase, in the layout of the functional boxes inside the building, and even in the structure of the new artistic facades of the courtyard that frame the views over the surroundings and filter the light within the building. Marubi National Museum of Photography acquires its own specific identity by linking all spatial, structural, functional, graphic and visual aspects, helping visitors to identify building and collection with a complete, rich and unique experience.

© Christian Richters

Concept

Product Description: The design of the different parts of the museum is based on the abstract pattern inspired by the geometry of the aperture of the photographic camera. This pattern is used on different scales within the building and defines its identity. On the bigger scale, the pattern is used to define the geometry of the curtain walls of the courtyard that frame glasses of three different transparencies. On the smaller scale it defines the geometry of the supporting aluminum cladding system of the functional boxes. The Deko GV cladding system has been adapted specifically to the necessities of the functional boxes in order to allow, on the one hand, the creation of frames to exhibit photos, documents and information texts and, on the other hand, show cases to exhibit objects. Other frames support translucent glasses where there are no pictures or objects behind.

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View from basketball court to east facade

• Architects: META-Project
• Location: Ji Lin，Songhua Lake
• Project Date: Design 2014／12；Complete 2015／12
• Client: Vanke Songhua Lake Resort
• Area: 10000.0 m2
• Status: Construction Complete
• Design Team: Wang Shuo，Zhang Jing， Cao Shibiao， Lan Tian，Wu Yaping，Zhao Yu
• Lighting Consultant: Han Xiaowei
• Project Year: 2016
• Photographs: Chen Su， Fang Chun

View from the pathway to the basketball court

Location plan

From the architect. New Youth Commune, a mixed youth community on the edge of Vanke Songhua Lake Resort bordering natural villages, contains 800 people with the upper space for Vanke staff, the middle rented to self-employed townspeople and the ground facilitating camping students and open to surrounding villagers.

Sunken playground under the entrance bridge

Addressing the ant tribe problem, having investigated the mixed dwelling phenomena peculiar to China from hutong, tube-shaped apartment to village-in-city and comprehended the inner dynamics of youth communities, the architect proposes a new spatial paradigm restructuring interpersonal relations in a gesellschaft.

Mountain view from the north side

The ordinary residential pattern is mutated into a quartet, externally undulating and internally interlocked. Bridges, stairs and tiered seating around the full-height atriums compose an open-street-like public route connecting all communal spaces for varied daily utilities. Thus, the simple and flexible framework blends innovative spaces into daily lives, encouraging inter-level encounters among the private, shared and collective zones and finally the community growth.   

Interior facade in the atrium

The project responds to the hybrid contemporaneity and proposes a new paradigm for community symbiosis: mutual cooperation and positive environmental interaction through inter-spatial sharing based on equality and self-sufficiency – a prototype community for contemporary ‘new youths’.

The step seats near the entrance

The practice continues [META:HUTONGS] and Reset Apartment, a series of experiments that analyses the spontaneous evolution of urban space production and elicits a valid composite social-cultural-spatial archetype.

Evolution of share-living Typology

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© Yoon Joon-Hwan

• Architects: guga Urban Architecture
• Location: Pangyo-dong, Bundang-gu, Seongnam-si, Gyeonggi-do, South Korea
• Architect In Charge: Junggoo Cho, Jina Yoon, Seunghwan Jeong
• Area: 223.9 m2
• Project Year: 2012
• Photographs: Yoon Joon-Hwan

© Yoon Joon-Hwan

From the architect. This contemporary red brick house embraces Hanok, a traditional Korean architecture, for a family with two children near Seoul. Clients had specific demands for their own house that it should have a restful space for them and a spacious home for their children.

A fifth of the population of the entire country now resides in the capital. As a response to the growing demand, it has been inevitable to build tall apartments with less consideration on design to speed up the whole process. Correspondingly, it became the most popular type of living. However, there are also shortages. “Clients told us that they could hardly feel at home in their house. Apartment blocks are famous for noise issues between the floors.” Architect continued “Accordingly, activities are highly limited” The identical design and restrained lifestyle now make many inhabitants to find an alternative way to dwell in the city.

© Yoon Joon-Hwan

Embedding Hanok into a contemporary building was a big challenge for the architect. “There were two requests. Firstly, a part of the house should be Hanok. Secondly, it should have Madang, Korean garden, facing south” The contrast between the Hanok part and the contemporary part seems to be prominent. Balancing these two different construction methods was the main concern in this project. “Madang is like a buffer zone to dilute any possible disconnection” said architect. Madang also naturally blends into the living room through the large windows. It functions like a big playground for the children where they can run around all day. This playful moment continues to upstairs where the small library and the study room can be found.

© Yoon Joon-Hwan

Section

The three big volumes of Hamyangjae was the manoeuvre to enclose Madang. The architect had to seek an alternative solution that could keep Madang private since having fences is not allowed in the neighbourhood.

As a result, the entrance is enlarged that has a terrace on the top and a storage below. The three masses of Hamyangjae makes every side of the building distinctive. From the outside of the entrance, Hanok completely disappears. On the other side, the whole mass splits into three volumes and gives a hint of Hanok. “Hanok unit can be completely detached from the red brick part without any damage” explained the architect.

© Yoon Joon-Hwan

Product Description.

Bay window: The bay window was carefully chosen in order to fit with the whole conceptual design. Apart from bringing a strong visual connection, the bay window is able to open from the center to the extremity, allowing a strong physical continuity from the inside to the outside Madang. 

© Yoon Joon-Hwan

Traditional design system windows: Windows are important elements in the traditional korean architecture. First, they allow the light to enter in the house while giving a strong privacy to the habitants. Secondly, the type of pattern are related to the inside program and also symbolic to the status of the habitants. Finally, it is also an important factor of the inside atmosphere. In this project the use of a modern system window allowed the project to keep those traditional qualities but also to have a good isolation and ease of use. 

© Yoon Joon-Hwan

Wooden floor: Wooden floor is usually need to in the Hanok to symbolize the meeting spaces. The use of the precious material give some importance to those space that we used to call Maru. It is also used to differentiate the meeting space from the individual room called Bang. In this way a Hanok can be seen as an alternating of Maru and Bang. The Maru can also be seen as a threshold which connect the inside space between themselves and also the inside spaces with the outdoor spaces. In this project, the whole Hanok is covered with a modern wooden floor in order to take advantage of the floor heating system which is not compatible with the traditional one.

Plan

Granite stone: Granite stone is an important element in the traditional Hanok. They are used for the foundation of the project Gidan and also the wooden columns are standing on a strong piece of stone called Choseok. In this project, in order to fit with the modern life style, we decided to extend the granite stone as the ground material for the whole Madang Korean courtyard. Compared to the originally soil covered Madang, the stone pavement allows the children to play in a clean environment but also multiply the programmatic possibilities. The living room rather than covered with a wooden floor is covered with a stone pavement which highlight the continuity between the Madang to the inside space.

© Yoon Joon-Hwan

Red bricks: The red bricks are an important outside materials for the contemporary and traditional Korean architecture. It is also, usually, used for the urban Hanok. It is then logical to use this material to connect the contemporary and traditional part of the house into a unique ensemble.

Hanji paper wall: Hanji paper are used in order to create a limit between spaces. It separate in a subtle way the spaces between them. Those frameless elements, when they are closed, give the feeling that the wall is unified. In the other hand, when opened, they give the feeling that 2 connected spaces look like a unique space. Finally, the slight transparency of the Hanji give an impressive and harmonious atmosphere to the space.

© Yoon Joon-Hwan

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