Why the Austrian Government’s Plan to Demolish Hitler’s Birth House is Contentious


US soldiers photographed defacing Hitler's birth house in Braunau am Inn (1945)

US soldiers photographed defacing Hitler's birth house in Braunau am Inn (1945)

Mankind has a strange relationship with the darker elements of its history. While some argue that we must consign our greatest mistakes to the past in order to move forward, others believe that ignoring, or refusing to acknowledge, our transgressions dishonors those who suffered – and leaves us vulnerable to repeating them. This ongoing debate has found its latest incarnation in western Austria, where the national government has announced its intention to demolish a seemingly unremarkable yellow house in the riverside town of Braunau am Inn – a house which, despite its unassuming façade, has gained infamy as the birthplace of Adolf Hitler.

Braunau’s unfortunate association with the Austro-German dictator began with his birth on April 20th, 1889. The fourth son of Alois and Klara Hitler, he spent only three years in the house of his birth before moving to the town of Passau on the German side of the river Inn. The fact that his residence in Braunau was so brief did little to dissuade fanatics who, longing to see the birthplace of the (who would later be known as) führer, began to elevate his former home in Braunau to that of a ‘pilgrimage site’ as early as the 1930s. When Braunau was occupied by the United States Army in 1945, it was American intervention that prevented a group of German soldiers from destroying the recently-deceased German dictator’s former home.

Over seven decades later, most residents of Braunau wish that the Americans hadn’t stood in the way of the house’s destruction. Its presence in the heart of their town is a constant reminder of a legacy that they are ashamed of; that the house has regularly been visited by successive generations of Nazi sympathizers, especially on the anniversaries of Hitler’s birth, is no small source of chagrin. Fears about this trend led the Austrian government to take up the building’s lease in 1972, after which it saw many uses as a museum, a school, a library, and the home of an organization dedicated to assisting the disabled.


© Dominic Ebenbichler

© Dominic Ebenbichler

In recent years, however, the house’s very existence has been placed in jeopardy. Continually frustrated by the owner’s refusal to renovate the building, and leery of its status as a de facto shrine to Hitler, Nazism and Fascism, the Austrian government took ownership of the house in July and began deliberating over its possible fate. Although the matter still requires a parliamentary vote, it is predicted that the building will be demolished and replaced by a new structure which will not carry the same association with one of history’s darkest chapters.

The impending decision has fanned the flames of a debate that has not settled since 1945. Those who would rather see the house destroyed cite its appeal to neo-Nazis as an impetus for action, a chance to strike a symbolic blow at those who continue to echo the hatred touted by their idol. “It is my vision to tear down the house,” said Austrian Interior Minister Wolfgang Sobotka, who explicitly mentioned his desire to eradicate what had repeatedly become a ‘cult site’ for neo-Nazis. Others, including Vice Chancellor Reinhold Mitterlehner, would rather see the house turned into a museum that would educate future generations about the dangers of radical extremism.

Hitler’s birthplace is only one of many sites connected to the atrocities of the Second World War to face controversy of this nature. In Poland, the Auschwitz-Birkenau memorial (formerly a Nazi-controlled concentration camp), along with an extensive catalogue of Holocaust artifacts, is under a continuous restoration program in order to maintain the authenticity of the site and, in the words of the organisation in charge, to “warn humanity against itself.” The decision to preserve Auschwitz was not universally supported, however, and even those who do believe it should remain intact are locked in an ongoing debate over the question of rebuilding parts of the memorial which, despite the efforts of preservationists, are rapidly deteriorating.

Another architectural relic of this period can be found to the south: the Palazzo della Civiltà Italiana, a gallery building originally erected to house a national exhibition celebrating the achievements of Fascist Italy under the reign of Benito Mussolini. The exhibition, however, never took place (due to the outbreak of the Second World War) and the palazzo would ultimately remain empty for decades. Although the Italian dictator may not be as infamous as Adolf Hitler, the building’s association with his authoritarian reign led to similar controversy in 2015 when the palazzo was renovated to become the new headquarters for Fendi. The fashion house, along with its supporters, argued that the palazzo’s striking, minimalist architecture was a symbol not of fascism, but of the company’s commitment to its native Italy. Architectural writer Owen Hatherley, meanwhile, proclaimed that while the architecture itself may be aesthetically pleasing, its creation by twisted minds meant that it was, and should be, “tainted.”


Palazzo della Civiltà Italiana (the Colosseo Quadrato). Image via Foter

Palazzo della Civiltà Italiana (the Colosseo Quadrato). Image via Foter

Across the Atlantic, similar debates began almost before the dust settled following the terrorist attacks of September 11th, 2001. Less than a month after the tragedy, people across the United States—and indeed, across the world—began voicing a wide variety of opinions as to just what should be done with the site of the World Trade Center buildings. Some argued that the original complex should be replicated exactly, an idea derided by others as an absurd form of denial in the wake of very real devastation. Although preservation of the original buildings were not possible, the struggle of finding a balance between “moving on” from a painful moment in human history, and respecting the lives lost as a result of that moment, is much the same.

Until the Austrian government makes its final decision, the future of Hitler’s birthplace remains uncertain. Even once a verdict is reached, however, it is unlikely to quell further debate – and may, if anything, simply fuel the fire. Whether the unassuming yellow house in Braunau is torn down or not, the atrocities committed by one of its former residents will not—and cannot—be erased from history. What Austria’s leaders must decide is whether to obliterate a symbol of one of history’s most reviled figures, or to preserve his birthplace as a reminder that his actions must never be repeated.

In front of the house stands a stone bearing a short inscription:

Für Frieden Freiheit und Demokratie. / Nie wieder Faschismus. / Millionen tote mahnen. [For peace, freedom, and democracy. / Never again Fascism. / Millions of dead warn us.]

In the end, it is respect of their legacy, not Adolf Hitler’s, that complicates this debate. As to whether that legacy is best respected through symbolic destruction or solemn preservation remains contentious.


The memorial stone outside the house of Adolf Hitler's birth. The stone is from the quarry at the Mauthausen concentration camp.. Image Courtesy of Wikimedia user Jo Oh (licensed under CC BY-SA 3.0)

The memorial stone outside the house of Adolf Hitler's birth. The stone is from the quarry at the Mauthausen concentration camp.. Image Courtesy of Wikimedia user Jo Oh (licensed under CC BY-SA 3.0)

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Vacation House in Karyes / Plaini and Karahalios Architects


© Nikos Papageorgiou

© Nikos Papageorgiou


© Nikos Papageorgiou


© Nikos Papageorgiou


© Nikos Papageorgiou


© Nikos Papageorgiou

  • Landscape Architect: Eleni Tsirintani
  • Special Structures: Giorgos Mathioudakis

© Nikos Papageorgiou

© Nikos Papageorgiou

From the architect. This is a two-story building of the early 20th century, a typical village house of the Peloponnese with the main living areas on the upper level and the lower level used separately for agricultural functions.


Corte

Corte

The adaptation of the building into a contemporary vacation house was based on two main principles. On the one hand the spaces were arranged in a fluid and continuous way, without setting firm boundaries. On the other hand it was important to underline the differentiation of the two levels.


© Nikos Papageorgiou

© Nikos Papageorgiou

The upper and the lower level create a distinct dipole, the former as an area of winter living and the latter as the summer counterpart. The upper level is the reminder of the old main house and preserves the formal elements and the hierarchical arrangement. The ceiling and the walls are painted green, forming a dialogue with the surrounding mountains. The green box organizes the living area. The old terrazzo is fully preserved as a reminiscent of the old plan. All the new floors that define the new functions are structured around it.


© Nikos Papageorgiou

© Nikos Papageorgiou

The lower level vividly illustrates the initial stonewalls and all the subsequent structural interventions of the building. The various and diverse elements are whitewashed and unified. The space is divided into three cascading sub-areas aiming at different levels of privacy.


© Nikos Papageorgiou

© Nikos Papageorgiou

The dipole is also present at the facades. The lower level is whitewashed unlike the upper part where the render remains intact, revealing the footprint of time.


© Nikos Papageorgiou

© Nikos Papageorgiou

The main quality of the old building lies in its cross section, a non-visible condition. The contemporary intervention reveals that quality and turns it into an everyday experience.


© Nikos Papageorgiou

© Nikos Papageorgiou

Product Description. One of the main features of the interior is that the space is green all around and the floor materials define the different areas. Three different materials (forged cement, cement tiles and oak wood) are arranged around the old L shaped terrazzo.


© Nikos Papageorgiou

© Nikos Papageorgiou

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AOIZ Nedim Uysal Private High School / M artı D Mimarlık


© ZM YASA

© ZM YASA


© ZM YASA


© ZM YASA


© ZM YASA


© ZM YASA

  • Architects: M artı D Mimarlık
  • Location: Izmir, İzmir, Turkey
  • Architectural Design: Metin Kılıç, Dürrin Süer
  • Area: 13697.0 sqm
  • Project Year: 2016
  • Photographs: ZM YASA
  • Project Team: Merih Feza Yıldırım, Serdar Uslubaş, Ali Can Helvacıoğlu, Damla Duru, Gizem Yazıcı
  • Consultant : Deniz Güner
  • Statical Project : Cemal Coşak, Mustafa Şahin
  • Mechanical Project: Ekrem Evren
  • Electrical Project : Namık Onmuş
  • Client : Izmir Atatürk Organized Industrial Zone Management

© ZM YASA

© ZM YASA

Technical and Industrial High School building is located on one of typical parcels of grid-planned İzmir Atatürk Organised Industrial Zone.  Rectangular, introverted boxes placed on rectangular parcels define settlement characteristic of organised industrial zone. Monotonuos character on third dimension is the result of introverted and uniform settlement of buildings located on a flat terrain. This industrial layout  provides an introverted and an isolated life. Modern education vision requires interactive and motivating interior spaces. However, social and dynamic experience can’t be provided in this zone.


© ZM YASA

© ZM YASA

As a result of restricted references of topography and urban layout, 2 design strategies are accepted for  building to reflect  its existence by contrasting with urban context. First of all, technical ateliers and social units are distrubuted to 5 blocks located around  an atrium.  Educational block is located at upper floors. Secondly, green topography is continued to differentiate public block and educational block.


© ZM YASA

© ZM YASA

Floor Plan

Floor Plan

© ZM YASA

© ZM YASA

Building mass is composed  of spaces surrounding a large atrium which provide dynamic interiors and continious visual perception. Atrium, defined by permeable wall surface is a public space, reflecting institional identity. Spaces, arrayed on corridor surrounding the gallery are  merged to it by niches containig different programs such as club rooms.


© ZM YASA

© ZM YASA

Niches with different properties between different blocks , enables interaction of exterior space with dynamic interior spaces.  They have different identities due to different programs such as ceremony areas, entrance plazas, recess and sports areas.


© ZM YASA

© ZM YASA

A  new level is created for providing a different contextual perception and for breaking monotonuos layout of the context on third dimension. The new level  where green landscape sustains, not only offers  an alternative interaction spaces  but also, creates a new horizon for  users.


© ZM YASA

© ZM YASA

Building program is distributed to 5 floors. Large areas such as conference hall, sports hall, ateliers and socializing areas like canteen, dining hall are located on ground floor, 1. floor. Classrooms, adminstrative  offices, teacher’s lounges, library are located on 2., 3., 4. floors.


© ZM YASA

© ZM YASA

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Castle Town Orthodontic Bruno / TSC Architects


© Masato Kawano / Nacasa & Partners

© Masato Kawano / Nacasa & Partners


© Masato Kawano / Nacasa & Partners


© Masato Kawano / Nacasa & Partners


© Masato Kawano / Nacasa & Partners


© Masato Kawano / Nacasa & Partners

  • Site Area: 674.15 sqm
  • Total Floor Area: 259.05 sqm

© Masato Kawano / Nacasa & Partners

© Masato Kawano / Nacasa & Partners

From the architect. This building is located in Nishio-shi, Aichi where the taste of the castle town remains, Japan.

We provided the open space such as the park to the cityscape on planning a dental clinic on this ground and wanted to contribute to local people.


Plan

Plan

And we read the historic background of the town and planned an adjoining building using a local tile from the open space.

This building leads eyes from the open space to trees and the sky of the Shinto shrine and provides the place of peace to the cityscape. We hope that people feel healing and the history.


© Masato Kawano / Nacasa & Partners

© Masato Kawano / Nacasa & Partners

Sections

Sections

In addition, the tile along with the orderliness images beautiful alignment of teeth. We assume it the symbol of the thought of the dentist to think to want to do the help of the smile by treatment.

In addition, We planned it to locate an inner garden in the waiting room, and to become the extension of the scenery from the outside.


© Masato Kawano / Nacasa & Partners

© Masato Kawano / Nacasa & Partners

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Sinsa-dong Office Complex / JMY architects


© Joonhwan Yoon

© Joonhwan Yoon


© Joonhwan Yoon


© Joonhwan Yoon


© Joonhwan Yoon


© Joonhwan Yoon

  • Architects: JMY architects
  • Location: Sinsa-dong, Gangnam-gu, Seoul, South Korea
  • Architect In Charge: Jaemin Yoon
  • Design Team: Kwangjae Ryu (Team Manager), Hyukhyu Shin, Hyejin PARK, Jinsoo Kim, Seongmin Lee, Yeonjung Lee, Eunji Choi, Wihwan Choi
  • Area: 64.36 sqm
  • Project Year: 2015
  • Photographs: Joonhwan Yoon
  • Collaborator : MOA Structure Engineers, M:HL Consulting, Daewon Pobis
  • Construction: Jarchiv Construction
  • Client: MEDIA EN MESSE

© Joonhwan Yoon

© Joonhwan Yoon

1. Ugly-looking Ground

The trapezoid shaped, irregularly pentagonal ground located in an urban residential district is a commercial lot in a small area (282m2). With road reduction and difficulties of parking and entry due to the restricted diagonal line (Due North Slant Line for Daylight and Diagonal Plane Control by Street Width) and narrow entrance (3m width), its application for any purpose other than a house will be difficult.


Site Plan

Site Plan

Floor Plans

Floor Plans

2. Poor Residential Environment in an Exclusive Residential District

Despite the proliferation of small scale qualitative development of nearby Garosu-gil, which is the leading shopping district in Seoul, the urban development and architectural status of the area is slow and poor. With narrow and irregular road and ground formation, increasing land price and old houses, unclear type of housing, parking difficulty and awkward skyline, the area looks like other decaying old downtown area, and the land is surrounded by houses.


© Joonhwan Yoon

© Joonhwan Yoon

3. Limited Development Potential

– Legal restriction: The ground is restricted by Due North Slant Line for Daylight on two sides and Diagonal Plane Control by Street Width on two sides, and thus it will be difficult to secure road reduction and parking space.

– Limitation of construction cost: Unreasonable demand by the owner, limitation of construction cost and limitation of technology make the development difficult.

– Difficulty of construction: Complaints by nearby households and narrow road of 3m width make construction difficult.


Diagram

Diagram

4. New Alternative Plan as the Composite Residential/Commercial/ Business Space

To resolve the limitations, three factors are suggested as the direction of this project: extremeness, compositeness and connectivity.

Extremeness: Attainment of maximum space with minimum construction cost, maximum opening with minimum opening, simpleness and complexity, roughness and neatness, reversal of legal restriction (attainment of external space on each floor), and deep basement space (6m ceiling height)


© Joonhwan Yoon

© Joonhwan Yoon

Sections

Sections

Complexity: Composite residential, commercial and business plan

Connectivity: Vertical connectivity with sky and horizontal connectivity with surrounding context. Since the main function is the business facility, the concrete double skin will be installed in the low part (up to the third floor) to be horizontally isolated from the neighbor, and the space between the concrete and door/window skin is used for vertical connectivity (light, wind and rain penetration) with sky. The top part (4th ~ 6th floor) without the alternative is opened as much as possible so that it is horizontally connected to the distant view while the external space of the floor side, which becomes narrower due to the slant line restriction as it goes upward, is vertically connected. The programmed connectivity is connected or separated in the order of commercial, business and residential function from bottom to top.


© Joonhwan Yoon

© Joonhwan Yoon

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Warehouse Renovation / Yabashi architects & associates


© Tohru Yabashi

© Tohru Yabashi


© Tohru Yabashi


© Tohru Yabashi


© Tohru Yabashi


© Tohru Yabashi

Using the Saga Prefecture Karatsu steel frame within the structure of the warehouse, which has been used as a material storage in, primarily space, such as a gallery that allows the exhibitions in conjunction with the display and the Marche in the Marche which is carried out once in two months Guests were asked.


Floor Plan

Floor Plan

So, it envisions a large patio with a gallery in the warehouse, hoping to be the intimate space to the corresponding space, such as the alley born around that in Marche, is composed of a shelf wall, which is arranged in a nested It was proposed a tubular structure.


© Tohru Yabashi

© Tohru Yabashi

Is the inner shelf wall patio is surrounded by a white wall, and has a abstract space by comparison with the presence that was ingrained the existing warehouse. Here exhibition invited writers, workshops, concerts, continue to function as a venue for events to be held in conjunction with the Marche of the extra touches that make such talk events.


© Tohru Yabashi

© Tohru Yabashi

On the other hand, the alley around patio has become an elongated space with intimate scale. Shake the angle to put the distance from the existing exact grid ShelfWall, it has transformed the space of the alley to the richer ones by creating a deep perspective to this place. Other Marche in alley, display shelf of goods belonging to the event in the patio, can be utilized as a bookshelf library space.


© Tohru Yabashi

© Tohru Yabashi

Shelf wall on the border of mutually different space has created a new table / back of the relationship. The contrasting events that location is performed in parallel with each other is complemented each other while repeating the reversal of the front and back like a vortex in the boundary ShelfWall, function as a place of rich regional exchange that lead the way in the various events we hope that they would.

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#5 / Studio Wills + Architects


© Beton Brut

© Beton Brut


© Beton Brut


© Beton Brut


© Beton Brut


© Beton Brut

  • Architects: Studio Wills + Architects
  • Location: 70 Frankel Ave, Freeport, NY 11520, United States
  • Architect In Charge: Ng William
  • Design Team: Ng William, Wu Shan Yat
  • Area: 489.96 sqm
  • Project Year: 2016
  • Photographs: Beton Brut
  • C&S Engineer: Civil and Geotechnical Associates
  • Quantity Surveyor : BKG Consultants Pte Ltd
  • Builder: TIM Contracts Pte Ltd
  • Carpenter: Sin Hiap Chuan Wood Works

© Beton Brut

© Beton Brut

The site faces a major thoroughfare, is flat and non-descript. Maximized to its permissible building volume, this can be a potentially over-sized house for a family of 4 (parents and teenage daughters) and their 2 helpers. The strategy of fragmentation was thus adopted to fragmentize the volume into comprehensible parts.


Floor Plan

Floor Plan

In order to accommodate a sizeable lap pool of 3 meter width along the side garden, the building had to be set-back by an additional 1 meter beyond the 2m building set-back line. This was considered to be undesirable due to the reduced building foot-print. Resolution was found by a shift of 1 meter back to the 2m building set-back line, in the upper levels, to regain the otherwise reduced building footprint.


© Beton Brut

© Beton Brut

This strategy was adopted in the making of the PLANS, SECTIONS and ELEVATIONS resulting in multiple ‘gaps’, between wall and roof planes, for light and ventilation. Roof planes were further tilted away from the western sun in order to shelter the interior spaces from the tropical heat and look to the distant whilst escaping the prying eyes of its immediate neighbors. 


Section

Section

Shades of grey, contrasting materials and textures and lighting quality were appointed across the entire section of the building to accentuate the fragments and heightens one’s experience of the entire house which oscillates between light and shade, open and enclosed, expansive and compressive spatial qualities.


© Beton Brut

© Beton Brut

Diagrams

Diagrams

#5 was a study in the making of tropical living spaces, in a dense urban environment, that is at once open yet private.

Product Brief:
Reinforced concrete (RC) – The roofs constructed in reinforced concrete and finished with a coat of paint, similar to the walls, give expression to a series of ‘shells’ that defines the enclosure and ‘one-ness’ to the entire house.


© Beton Brut

© Beton Brut

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LOT Wins Competition to Transform Flatiron Plaza in New York


Flatiron Sky-Line / LOT. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Flatiron Sky-Line / LOT. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

LOT has been selected as the winner of the third annual Flatiron Public Plaza design competition in New York, which called for proposals from 5 New York City firms to design a temporary installation to be located at the base of the iconic Flatiron Building.

The winning proposal, titled “Flatiron Sky-Line,” consists of a series of 10 large contiguous arches, constructed out of white powder-coated steel tubes housing LED lights, from which an array of hammocks will be suspended to allow visitors to rest and take in the surrounding landmarks such as the Met Life Tower and Empire State Building.


Radiant Forest / Architensions. Image Courtesy of Flatiron Public Plaza Holiday Design Competition


Flatiron Roc Chair / Büro Koray Duman Architects. Image Courtesy of Flatiron Public Plaza Holiday Design Competition


Vanishing Point / FreelandBuck. Image Courtesy of Flatiron Public Plaza Holiday Design Competition


Silver Shimmer / Young & Ayata. Image Courtesy of Flatiron Public Plaza Holiday Design Competition


Flatiron Sky-Line / LOT. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Flatiron Sky-Line / LOT. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

“Flatiron Sky-Line is an engaging installation, creating a social space underneath the illuminated arched outline, a structure to walk within and around, gaze through it towards the skyline, and experience Flatiron’s surroundings through a certain lens,” said LOT principal Leonidas Trampoukis. “The simplicity of the installation’s design will draw in audiences, and, we expect, produce significant feelings as they stand in one of our country’s most recognizable intersections.”


Flatiron Sky-Line / LOT. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Flatiron Sky-Line / LOT. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Finalists


Radiant Forest / Architensions. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Radiant Forest / Architensions. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Radiant Forest / Architensions

Radiant Forest is a pavilion that promotes interaction between people and encourages gathering in a comfortable environment. A composition of movable and stationary vertical slats partially skinned with a mirror film reflects visitors and passersby, highlighting the beautiful differences in our city across changing colors, seasons, days and nights. The forest invites visitors to follow unpredictable paths as they are drawn to an area by fiber optic curtains and radiant heating dishes. A sensor activates the radiant dishes and the fiber optics light up with RGB irradiation map colors, measuring the real-time temperature of the bodies occupying the space. 


Flatiron Roc Chair / Büro Koray Duman Architects. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Flatiron Roc Chair / Büro Koray Duman Architects. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Flatiron Roc Chair / Büro Koray Duman Architects

Design has the power to create a sense of belonging, joy, and an ownership of public space. A design that provides a sense of familiarity between strangers in public while being playful is the core of Flatiron Roc Chair. As passersby enter and sit down, the piece rocks up and down, animating the holiday spirit. At night, in a fixed, upright position, the piece transforms into a stage where festive choirs perform. LED lights adhered to framing provide a glow underneath. Fitted polycarbonate panels at the ends offer safety for the kinetic movement of the piece.


Vanishing Point / FreelandBuck. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Vanishing Point / FreelandBuck. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Vanishing Point / FreelandBuck

Our visual experience is layered with the dense clouds of imagery and information encountered through digital devices and social networks. Expanding on this new visual capacity, Vanishing Point collects partial, oblique views of the Flatiron Building that are imprinted on layers of translucent fabric and woven into three kaleidoscopic urban objects. Condensing the countless images of the iconic building found online and elsewhere into a three-dimensional structure, the project captures multiple modes of seeing. From a central point within the pavilion, the layered drawings align into a unified image reminiscent of the iconic prow of the building. Vanishing Point further proliferates the building’s image as the subject of new photos during the holiday festival.


Silver Shimmer / Young & Ayata. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Silver Shimmer / Young & Ayata. Image Courtesy of Flatiron Public Plaza Holiday Design Competition

Silver Shimmer / Young & Ayata

Silver Shimmer appears at first as a field of vibrating light. When visitors approach, views shift through alignments of the chromed steel pipe structure, offering glimpses through the pavilion. Upon entering, one becomes immersed in the reflections of mirror-finished, bell-shaped balloons inflated to nestle within the lattice, reflecting the context and the luminous lines of the pavilion into a specular spectacular. What is not immediately apparent is that the pavilion is entirely constructed out of what already exists in the Flatiron Plaza, the public tables. This humble public amenity is transformed into something otherworldly, a shimmering lattice of light.

“Flatiron Sky-Line” will open to the public on Monday, November 21 on the North Flatiron Public Plaza at Broadway, Fifth Avenue, and 23rd Street, and will remain on view throughout the holiday season.

Now in its third year, the annual competition is organized by the Flatiron/23rd Street Partnership Business Improvement District (BID) and Van Alen Institute to activate Flatiron Public Plaza during the holiday season. Previous winners include SOFTLab’s “Nova” and “New York Light” by INABA.

News via Van Alen Institute.

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Loterie Suisse Romande / CCHE


© Thomas Jantscher

© Thomas Jantscher


© Thomas Jantscher


© Thomas Jantscher


© Thomas Jantscher


© Thomas Jantscher

  • Architects: CCHE
  • Location: Lausanne, Switzerland
  • Area: 11200.0 sqm
  • Project Year: 2015
  • Photographs: Thomas Jantscher
  • Client : La Société de la Loterie Suisse Romande (LORO)Surface (SBP)

© Thomas Jantscher

© Thomas Jantscher

From the architect. The LORO wants to bring together its different entities on one site. The building located avenue de Provence in Lausanne, already hosted some, was transformed internal and external and completed with an extension to regroup them.


© Thomas Jantscher

© Thomas Jantscher

CCHE has developed a structure in the common courtyard to provide a visible single entry with the goal to redistribute the building part through the different lodgers and to connect all levels and services.


Floor Plan / Sections

Floor Plan / Sections

The new site match industrial character of the site thanks to the building envelope, but develops a LORO specific universe inside the building. The extension takes the form of a tree wrapping the existing building as a canopy in which penetrates the surrounding vegetation.


© Thomas Jantscher

© Thomas Jantscher

The LORO indoor environment, with its large levels, is assimilated to boxes looking like disseminated houses in the city: the front houses are closed offices and conference rooms and those inside de levels are dedicated to services.


© Thomas Jantscher

© Thomas Jantscher

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Zaha Hadid-Designed Statuettes to be Presented at BRIT Awards 2017


BRIT statue concept sketch by Zaha Hadid Design. Image Courtesy of Zaha Hadid Architects

BRIT statue concept sketch by Zaha Hadid Design. Image Courtesy of Zaha Hadid Architects

The BRIT Awards has announced that the statuettes that will be given during their 2017 awards ceremony have been designed by the late Zaha Hadid.

Hadid had accepted the project in January of this year and developed concepts for the design before her sudden passing in March of this year. The work has since been led by Zaha Hadid Design Director Maha Kutay and the BRIT Awards Niamh Byrne.

“Zaha was truly excited to be doing this,” recalled Kutay. “Her vision was, being an architect, to focus our efforts more on the 3D element, as the statue had previously been used as a canvas for artists to paint on for the last few years. Our design expresses Zaha’s unwavering belief in progress and optimism for the future and a break from the norm.  The biggest challenge was to create something different within certain guidelines, yet achieving a result recognisable to the public. You have to respect the existing to create something new.”

The final designs will consist of a family of 5 interrelated statuettes representing diversity, and will be revealed in full later this year.

“The family is connected by a wave of transition, they are different yet connected,” explains Kutay.

Explaining his reasons for approaching Hadid, BRITs Chairman Jason Iley remarked, “Zaha’s work is innovative, original and recognises diversity in culture. It has much in common with music. She was the perfect choice for progressing the Award into the future.”

A self-proclaimed huge fan of music, Hadid took part in an interview with BBC’s Desert Island Discs, in which she listed a range of artists including Drake, Bryan Ferry, The Beatles, Sam Smith and Adele amongst her favorites.

In 2015, Hadid collaborated with artist and producer Pharrell Williams to create a pair of sneakers for the Adidas Originals line. About the collaboration Williams said, “I’m a huge fan of Zaha’s.  I would venture to say that she’s one of the most talented architects of our time, and of history in my opinion.”

The BRIT Awards 2017 will take place at London’s O2 Arena on Wednesday February 22nd.

News via Zaha Hadid Architects.

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