BIG's Serpentine Pavilion. Image © Iwan Baan

The 2016 Serpentine Pavilion, designed by BIG, has today been unveiled at the Serpentine Gallery in Hyde Park, London. The design consists of an “unzipped wall” in which a straight line of tubular fiberglass bricks at the top of the wall is split into two undulating sides, housing the program of the pavilion. For the first time, the 2016 Serpentine Pavilion is also accompanied by four “summerhouses” designed by Kunlé Adeyemi, Barkow Leibinger, Yona Friedman and Asif Khan. The Pavilion and summerhouses will open to the public later this week, on June 10th, and will be in place until October 9th. Read on to find out more about all five designs.

2016 Serpentine Gallery Pavilion / BIG

BIG's Serpentine Pavilion. Image © Iwan Baan

BIG’s Pavilion is created from pultruded fiberglass “bricks,” which let in light and views to the interior of the pavilion through each wall. The floors and furniture are constructed of wood which, along with the translucent fiberglass, provide “every surface with a warm glow and linear texture.” From the inside, the offsets of each individual brick creates an interesting play of light and shadow which is visible from within.

BIG's Serpentine Pavilion. Image © Iwan Baan

Explaining his design for the pavilion, Bjarke Ingels says: “This simple manipulation of the archetypal space-defining garden wall creates a presence in the Park that changes as you move around it and as you move through it. The North-South elevation of the Pavilion is a perfect rectangle. The East-West elevation is an undulating sculptural silhouette. Towards the East-West, the Pavilion is completely opaque and material. Towards the North-South, it is entirely transparent and practically immaterial. As a result, presence becomes absence, orthogonal becomes curvilinear, structure becomes gesture, and box becomes blob.”

BIG's Serpentine Pavilion. Image © Iwan Baan

BIG's Serpentine Pavilion. Image © Iwan Baan

Summerhouse / Kunlé Adeyemi (NLÉ)

Kunlé Adeyemi's Summerhouse. Image © Iwan Baan

Kunlé Adeyemi’s interpretation of the summerhouse brief, which asked architects to take inspiration from the nearby 18th century Queen Caroline’s Temple, inverted the classical-style pavilion to turn its plan into an elevation. Assembled from sandstone blocks, just as in the original pavilion, the structure creates a comfortable place for people to sit in an unexpected way.

Kunlé Adeyemi's Summerhouse. Image © Iwan Baan

Kunlé Adeyemi's Summerhouse. Image © Iwan Baan

Summerhouse / Barkow Leibinger

Barkow Leibinger's Summerhouse. Image © Iwan Baan

Barkow Leibinger’s summerhouse takes inspiration not only from Queen Caroline’s Temple, but also from a now-demolished second summerhouse, which once sat on top of an artificial hill nearby. Using a rotating mechanism, this pavilion was able to provide 360-degree views of the park, and in response Barkow Leibinger have created a “summerhouse in-the-round,” with undulating bands of plywood coiling together to provide views out to the park on all sides.

Barkow Leibinger's Summerhouse. Image © Iwan Baan

Barkow Leibinger's Summerhouse. Image © Iwan Baan

Summerhouse / Yona Friedman

Yona Friedman's Summerhouse. Image © Iwan Baan

Yona Friedman’s design for the summerhouse builds on his famous proposal for La Ville Spatiale, a conceptual design that he proposed in the 1950s and has worked on throughout his career. The 30 1.8-meter cubes, made with 16 millimeter thick steel tubes, recall the modular design of La Ville Spatiale in which people would have been encouraged to construct their own dwellings within the framework of a monumental megastructure. In the case of the summerhouse, these cubes instead support polycarbonate panels upon which exhibits can be mounted – making the design “essentially a movable museum and exhibition.”

Yona Friedman's Summerhouse. Image © Iwan Baan

Yona Friedman's Summerhouse. Image © Iwan Baan

Summerhouse / Asif Khan

Asif Khan's Summerhouse. Image © Iwan Baan

In the design process for his summerhouse, Asif Khan analysed the sun path around Queen Caroline’s Temple and realized that in the original design, the building was oriented to face the sunset on Queen Caroline’s birthday. This effect would have been amplified by the sun’s reflection off of the Serpentine lake – but that effect was destroyed by the construction of the bridge constructed over the lake in 1826. As such, Khan’s summerhouse includes polished metal plates, surrounded by timber staves which “unpeel” to create entrances.

Asif Khan's Summerhouse. Image © Iwan Baan

Asif Khan's Summerhouse. Image © Iwan Baan

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Courtesy of OMA

Buffalo’s Albright-Knox Art Gallery has selected OMA to expand and refurbish the historic museum and its campus. The project team is being lead by OMA New York’s Principal, Shohei Shigematsu, who will spend the next year in partnership with the museum and in consultation with the community on how to renew and revitalize the august institution. Known as AK360, the building will be OMA’s first art museum project in the United States, and the Albright-Knox’s first expansion in more than a half-century. According to the museum, the project’s name is a reflection on this being the institution’s third expansion in its 154-year history, in addition, it establishes an embrace of public feedback and the acknowledges the condition of being encircled by parkland.

The $80 million project – the largest ever undertaken by a cultural organization in Western New York – will expand the sixth-oldest public museum in the United States and one of the oldest anywhere dedicated to the art of our time. The museum’s existing buildings include a 1905 Beaux-Arts marble structure designed by Edward B. Green, and a space for social events and exhibitions designed in 1962 by Gordon Bunshaft of SOM; both are situated in Frederick Law Olmsted’s Delaware Park.

Courtesy of OMA

“We are thrilled to be part of this project, which will be important for many reasons including the convergence of historically significant architecture in Buffalo,” says Shohei Shigematsu. “[It will foster] a more intimate dialogue with the Olmsted landscape setting, answering the need for new exhibition space to display the Albright-Knox’s renowned collection, and positioning the museum to take a leading role in the city’s broader resurgence.”

The AK360 plan will add facilities for special exhibitions, create gallery space for twice the number of collection works previously on view, and will deliver updates throughout the museum’s campus, including more space for education, dining, and social activities, along with a more harmonious relationship to Delaware Park. In the words of the museum: “Realizing the expansion…will enable the Albright-Knox to operate more efficiently, provide enhanced service to the community, and anchor a vibrant cultural district in Western New York.”

“Our selection process sought creative approaches to the challenges of expanding and refurbishing the Albright-Knox,” said the museum’s Board President, Tom Hyde. “At the top of our list, we were looking for genuine sensitivity to our historic buildings and Olmsted campus, which anchor the increasingly vibrant Elmwood Avenue Cultural District. OMA/Shohei Shigematsu have demonstrated their creative approaches to building in complex sites, most recently at the Musée nationale des beaux-arts du Québec, which also connects parkland and urban landscape.”

AK360 was first envisioned in 2014, with the museum’s Board of Directors acknowledging the need for facility upgrades, more gallery space, and public program enhancements. The next phase of the project’s development will begin in September.

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Every year the Serpentine Gallery commissions an Architect to design a pavilion which will sit on its lawn, greeting the hundreds of thousands of people who will visit over the summer months. Temporary pavilions like this are an important chance for architects to test new ideas, and to communicate to the public what architecture is and could be.

Unless you’re in London, you may not get the opportunity to visit the pavilion physically, but thanks to the web we can take you there virtually.

You can interact with any of the virtual scenes below by hitting the 3D button. If you have a Google Cardboard or similar VR device, a small VR button will pop show up when you open the model on mobile.

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Above: the parametric version of the pavilion model. Click “full screen” in the bottom right to play with the rules of BIG’s Serpentine Pavilion.

Temporary pavilions are a window to the world of architecture

Courtesy of Archilogic

This year’s Serpentine pavilion, designed by Bjarke Ingels Group, is a complex sculptural form that can be constructed using simple geometric rules. In detail, the repeated brick geometry embodies the playful spirit of Lego and Minecraft. As a whole, the structure fits together with the calculation and precision of an algorithm.

We modeled the pavilion using web technologies, following simple rules; starting with a brick, reusing the brick to create a wall, “unzipping” the wall so that its base follows a curve. Building a model by defining rules allows us to change the components of the wall, the height of the bricks, and the shape of the curve, in the end generating a new unique Serpentine pavilion without tediously remodeling everything. Modeling this way is powerful; with a few changes we can explore the infinite possibilities of the wall system.

Courtesy of Archilogic

Click above to experiment with different wall models.

Because we’re doing everything in the browser, we can share these explorations in a public virtual space for anyone with a recent device and an internet connection. Being able to share 3D experiences this way, without installation of new software or file downloads, makes web browsers extremely powerful tools for architectural communication.

We encourage you to design the most beautiful wall the Serpentine has ever seen. but be aware; with great power comes great responsibility.

Courtesy of Archilogic

Click above for a non-parametric version of the serpentine model with a virtual tour.

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© Imagen Subliminal

• Architects: Lina Toro
• Location: Madrid, Madrid, Spain
• Architect In Charge: Lina Toro
• Area: 750.0 sqm
• Project Year: 2016
• Photographs: Imagen Subliminal

• Collaborators: Raquel Ruiz y José María Sánchez Laforet
• Contractor: linatoro.arch
• Landscape Design : Jorge Basarrate

BACKGROUND
Burbucar is a carwash located at Costa Rica Street in Madrid. It is an established business, which uses clean and innovative processes and seeks to visualize its philosophy by means of a renewed image.

© Imagen Subliminal

The carwash occupies the ground floor of a 7-storey building, in a 70 m-long and 12 m- wide tube. It rests on a 10cm neoprene bedding, which absorbs vibrations of the machines at the car wash tunnel. 80% of the water used is recycled at a purifying room, through 6 specific tanks. In winter, humidity exceeds 80% and the apparent temperature is 0ºC. Running non-stop 12 hours a day from Monday to Saturday, an average of 80 cars are washed daily at Burbucar.

© Imagen Subliminal

The commission is made with a single condition: the running of the business will not be interrupted at any time.
The project is executed in one month. Uninterrupted. 

© Imagen Subliminal

BEHIND THE SCENES: NO ONLY A CAR WASH
#BehindTheScenes offers spaces, associated with the waiting time, which visualize the formerly hidden washing processes. 
#BehindTheScenes changes the corporate image of the conventional carwash into the technified SPA.
#BehindTheScenes the technic decision of coating every surface with epoxy paint solves the general concept, allows a quick execution and the maintenance.
#BehindTheScenes fuses architecture, design and technic in a combined operation.

© Imagen Subliminal

LINEAR SCENOGRAPHY
The project integrates and shows all its elements in a continuous 100m- long sequence exterior-interior-exterior: carwash tunnel, boxes, showcases, decoration, clothing, toilets, furniture, machines, installations, lighting, rooms, vegetation and ramps. The play takes place in an average time of 25 minutes.

Floor Plan / Section

SENSORIAL SPA
The washing processes and their specific technology are revealed in the service of the client’s experience through three showcases. The tunnel-showcase, 7 consecutive arcs giving a singular spectacle; the purifying-showcase shows the recycling process of the water (decanting of coarse and fine solids, storage tanks, hydrocarbon separator and filters) and the hedonistic-showcase of the VIP room, where the furniture registers the positions of the active and passive wait, whether sitting on the suspended transparent chair or in the ball pool.

Axonometric

TECHNIC BACKSTAGE
The technic resolution (just one line item) based on epoxy paint of specific composition solves everything: image, efficient execution and water resistance. The monochrome background highlights the machinery’s and space’s backstage. The conventionally hidden elements are revealed: the false ceilings and CO2 conducts appeared; the divisions between technic rooms and tanks appear; the tunnel is lit up and the beauty of the most industrial engineering appears.

© Imagen Subliminal

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© James Silverman

• Architects: Wingardhs
• Location: Gothenburg, Sweden
• Architect: Wingårdh Arkitektkontor, Gert and Karin Wingårdh
• Area: 182.0 sqm
• Project Year: 2014
• Photographs: James Silverman

• Builder: Alfredssons Bygg & Fastighetsservice AB

Site Plan

Plan 0

From the architect. A small house that wants to be big. A small footprint and simple construction means low cost. That’s the idea when we set about designing a house for a young couple on a site surrounded by other single-family homes on the west side of Gothenburg. 

© James Silverman

We turn inward with an atrium scheme, away from the view of—and from—the neighbors. The nicest view is toward the mature trees and the exposed bedrock in the southwest, so we open the courtyard up on that side.

© James Silverman

The building is perched lightly on piers, hovering a half-meter over granite bedrock honed by the ice age. That means that to reach the building we need a stair and a ramp (accessibility requirement) along the blank northeast side. The elevated floor of the atrium courtyard is built up of decking over beams, with steps down to the surrounding terrain.

© James Silverman

On the inside, it’s the outside that dominates. The narrow kitchen with its long table is always a part of the changing seasons that play out in the courtyard. Floor-to-ceiling glass and broad sliding doors help erase the boundary between inside and out. Okay, it’s a cliché—but it works. 

© James Silverman

Section

There’s a steep ladderway up to the workroom (yes, there’s a glimpse of the sea from up there) and a shallow, almost monumentally processional stair up to a roof terrace. Additional rooms could be built around the courtyard if needed in the future to accommodate a bunch of children. 

© James Silverman

The entrance wall is thickened to hold a fireplace (the chimney is part of the roof landscape) with a built-in sofa, a room for collections, the kitchen (back-to-back with the exterior mechanical room), and an air-lock entry with guest bathroom.

Diagram

© James Silverman

The exterior is clad entirely in whitewashed (Sioo treated) smooth-planed spruce. It will age to a pale gray.

© James Silverman

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© Leonardo Finotti

• Architects: RUA Arquitetos
• Location: Barra da Tijuca, Rio de Janeiro – State of Rio de Janeiro, Brazil
• Architect In Charge: Pedro Évora, Pedro Rivera
• Area: 6400.0 sqm
• Project Year: 2015
• Photographs: Leonardo Finotti

• Constructor: RJZ Cyrela
• Coordination: Roberto Boettger Costa (RUA Arquitetos)

© Leonardo Finotti

Sketch

Sketch

The veranda as a guideline

Golf is a sport of precision and balance, and we believe the same goes for its architecture. The outdoor practice, among the exuberance of natural elements, inspires the creation of spaces which are close to the landscape, well lit, wide, ventilated and in direct contact with the course. It is also a sport where players socialize before, during and after the game, reinforcing the importance of the clubhouse’s architecture.  

© Leonardo Finotti

Plan

For the Olympic clubhouse we chose to design a building organized like a comfortable veranda, dissolving the limits between the landscape, the building, and the users. For this purpose we initially created a plaza which articulates the course with the programmatic volumes around it. It was then roofed by a large cover which shelters and shadows, producing a pleasant ambience. The proposal also utilizes traditional Brazilian architectural elements like parasols, brise-soleis and cobogós, in order to create comfort and appease the spaces between interior and exterior. The attention to these intermediate spaces is therefore an inseparable part of the architectural design.

© Leonardo Finotti

Section

Site approach

The placement of the ensemble which constitutes the clubhouse follows a few main premises: its close and direct relationship to the course and driving range; the fragmentation of the volumes in favor of landscape views, the mitigation of the construction’s impact over the soil and local vegetation; the disposition of architecture through circulation axes and around the plaza.     

© Leonardo Finotti

Sketch

From the entrance a generous inclined pathway heads towards the golf course, with a privileged view.  Through this path we implemented successively the gym, restrooms and locker rooms, Pro-Shop and reception, culminating in the plaza which leans onto the course from one side and houses the administrative headquarters and social areas. Above it, the translucent roof captures rain water and provides shade. An internal garden acts as an extension of the surrounding landscape, which can also be appreciated from the roof garden above the restaurant, accessible through a ramp. 

© Leonardo Finotti

The usual flux of the players, consisting mainly of the course scheduling in the Pro-Shop store, a stop by the changing rooms and return to the bar after the game, was granted special attention in the project’s development. 

The headquarters of the Brazilian Golf Confederation was implemented adjacent to the golf course, in the northern part of the terrain, so as to maintain a certain independence from the other areas of the clubhouse. 

© Leonardo Finotti

The service areas were designed around a patio for the operation of machinery and course maintenance, in accordance to the efficiency guidelines provided. 

The clubhouse of Rio de Janeiro Golf Club affirms itself through a generous architecture, bright, open and welcoming to current and future practitioners of the sport.

© Leonardo Finotti

Sketch

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© Amit Geron

• Architects: Weinstein Vaadia Architects
• Location: Tzfat, Israel
• Architects In Charge: Shereen Ghanem, Eyal Gvirsman
• Area: 7000.0 sqm
• Project Year: 2016
• Photographs: Amit Geron

© Amit Geron

© Amit Geron

From the architect. The site of the Sieff Hospital, amidst the majestic Galilee landscape, presents an unparalleled opportunity for incorporating Nature into the fabric of the building.

We perceived the location of the hospital as an opportunity to design a building that can benefit from the unique therapeutic qualities that only contact with nature can give.

© Amit Geron

Section

The project was shaped by two primary aims: clarity, simplicity, and quality of environment.

A building that is easy to understand conveys calm and peacefulness.
The patient’s rooms are arranged in a logical sequence along the main public area to create a clear and simple hierarchy for the users.
The organization of the building and its relationship with the landscape creates an environment for the patients and staff that are harmonious and coherent.

© Amit Geron

© Amit Geron

The variety of views and their relationship to the various activities of the hospital offer therapeutic benefits and a working environment filled with natural light and a sense of space.
The public spaces of the building are open inwards onto peaceful, internal landscaped court, affording privacy and relaxation.
The patient’s rooms are oriented outwards, opening to views of mountains, cliffs and valleys.

© Amit Geron

Plan

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© Volume

Volume #48: The Research Turn is comprised entirely of interviews and conversations. We wanted to learn from those who have been instrumental in shifting the boundaries and shaping today’s landscape of creative knowledge production. The issue also includes the catalogue for BLUE: Architecture of UN Peacekeeping Missions by Malkit Shoshan, the Dutch contribution to the 15th Venice Architecture Biennale.

Over the coming weeks Volume will share a curated selection of essays from this issue on ArchDaily. This represents the continuation of a partnership between two platforms with global agendas: in the case of ArchDaily to provide inspiration, knowledge and tools to architects across the world and, in the case of Volume, “to voice architecture any way, anywhere, anytime [by] represent[ing] the expansion of architectural territories and the new mandate for design.”

Today it’s not so important what you know but rather how you think. Progress, in this sense, is predicated by critical reflection on ways of knowing and disciplinary traditions of thought. This issue of Volume – the second in our series on learning – is dedicated to mapping the contemporary field of research that is pushing processes of knowledge production forward in architecture, art and the social sciences.

© Volume

Research Horizons / Nick Axel

Buildings get built, inhabited, and begin to come undone. Political regimes rise, have their fun, and fall. The knowledge that goes into and comes out of such processes lives a different kind of life, though. Ideas are birthed, yet their death is an impermanent state of forget. Buildings can impress and politics can mobilize, but knowledge is wild; there’s no telling just what it will do. With immateriality comes a certain type of power, which industrialism has taught us can be wielded to virtuous effect of both benefit and harm. All it takes is setting our mind to it.

The topic of urgency haunting creative practice today cannot be seen if not in light of the knowledge economy and the question it poses of an idea’s relevancy. In spite of the immateriality of its resource, the knowledge economy—as an economy—is subject to traditional market logics such as competition, appropriation and exploitation. Whereas commodity value is basically determined by supply and demand, the valuation of knowledge is determined by potential. It is something that needs to be ‘applied’, though the meaning, mechanism and site of such application is radically contingent. The value of knowledge is thus inherently speculative, which as we’ve seen over the past decades couples quite nicely with finance.

© Volume

In 2012 alone, industries that produce or use intellectual property contributed over five times as much value to the United States economy—$5.06 trillion—as did the construction industries. In a strange sense, there is an enormous amount of investment being made into the future. Yet whose future, and of what kind? “Research and Development” has become the general economic category for processes of knowledge production. R&D has always been an imperative for market economies, yet the extent to which value is placed on knowledge today forces us to reconsider its social role and our relation to it.

Research is conducted and used in countless ways, yet it tends to draw from the space it is performed within. Research produces knowledge, but often speaks to and acts upon disciplinary traditions of knowledge production. Take architecture, for instance: both Le Corbusier’s research into the architectural application of industrial processes and, following him, Robert Venturi, Denise Scott Brown and Steven Izenour’s research into American pop architecture led to radical transformations in the thought and practice of architecture. What we can witness in these two examples, which are just two of a countless many, is the way research reconfigured the relationship between what was considered to fall on either side of Architecture’s disciplinary border.

© Volume

The historical trajectory of architecture is affected by changes that, albeit taking place within the worlds where it operates, lay far beyond its grasp of its creative agency. In this sense research presents an opportunity for architecture to control the affect of these changes. To return to the examples above, Le Corbusier responded to the nascency of industrial society, whereas Venturi, Scott Brown and Izenour responded to the aberrancy of modern urbanity. These two examples, whose research effectively laid the grounds for modern and postmodern architecture, respectively, were able to carve out spaces of creative autonomy by regarding social history with critical sensitivity. As an act of responding, research is ultimately determined by its position.

This issue of Volume – the second in our series on learning – is dedicated to mapping the contemporary field of research in architecture and beyond. Conditions of knowledge production are infrastructural. It’s for this reason that we felt it appropriate to give a survey of research over the past two decades the name of a ‘turn’. We expanded our gaze and looked to contemporary art and the social sciences in an attempt to learn from fellow discursive practices. What follows is an issue comprised entirely of dialogues—a first for Volume—whose character ranges from interviews to conversations. We wanted to learn from individuals whose stories and experiences we understood as being instrumental in shaping the contemporary field of creative knowledge production. The survey we took is in no way comprehensive or exhaustive, but it does begin to reveal the contours of the ground and identify landmarks in the today’s discursive landscape.

© Volume

Interviews

• You Only Walk This Way Once / Anthony Acciavatti & Vere van Gool
• Upgrading the Architect / Dag Boutsen
• Participatory Validation / Lex ter Braak
• Excavating the Forgotten / Beatriz Colomina
• Ulterior Motives / Reinier de Graaf
• Molding the Future / DUS Architects
• Pursuing Truth / Tim Ingold & Judith Winter
• Rearticulating the Problem / Adrian Lahoud
• Worlds within Worlds / Chus Martínez & Sofia Lemos
• Insert: BLUE: Architecture of UN Peacekeeping Missions / Malkit Shoshan
• Seeing Architecture / John Palmesino
• For and Against Service / Stephan Petermann
• The Archaeology of Research / Sarah Rifky & May al-Ibrashy
• To Encounter the Contemporary / Irit Rogoff & Füsun Türetken
• Make Friends Not Art / Ruangrupa
• Exploring the Frontier / Rural Urban Framework & Land+Civilization Compositions
• Think Through Tank / Supersudaca & Francisco Díaz
• After Bologna / Henk Slager
• Recomposing the Planet / Territorial Agency
• Platform Policy / UNStudio
• Provoked into Being / Eyal Weizman
• In the Mood for Brick / Jan Peter Wingender

Volume is an “agenda-setting” quarterly magazine, published by the Archis Foundation (The Netherlands). Founded in 2005 as a research mechanism by Ole Bouman (Archis), Rem Koolhaas (OMA*AMO), and Mark Wigley (Columbia University Laboratory for Architecture/C-Lab), the project “reaches out for global views on designing environments, advocates broader attitudes to social structures, and reclaims the cultural and political significance of architecture.”

Volume #48 launched at the Dutch Pavilion of the 15th Venice Biennale with a breakfast roundtable discussion dedicated to topics dealt with in BLUE. The discussion included Malkit Shoshan (FAST, curator of BLUE), Kai Vöckler (Archis Interventions Berlin), Reinier de Graaf (OMA), and Ethel Baraona Pohl (DPR-Barcelona).

The latest issue can be purchased here.

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Courtesy of Luis Machuca

• Architects: Luis Machuca y Asociados
• Location: Málaga, Spain
• Area: 22562.93 m2
• Project Year: 2015
• Photography: Cortesía de Luis Machuca

• Promotor: Ferrovial Servicios S.A.
• Contructora: Ferrovial Agroman
• Presupuesto: 2.257.361,90 €

Courtesy of Luis Machuca

From the architect. Inacua Racquet Club is following the enlargement of the sporting Inacua sports complex in the west of the city of Malaga. Seven tennis courts and fifteen paddle courts need a house club with a lot off services where we find the main entrance.

Courtesy of Luis Machuca

For this purpose this building contains locker rooms, shop, tennis schools, tennis courts management and the restaurant, and whose connections are made outdoor thanks to the mild climate of the Costa del Sol.

Plan

Thus the architecture within its boundaries becomes a series of porches, where waiting, chat or rest is done sheltered from the sun and enjoying the sea breeze.

Courtesy of Luis Machuca

It is in these outer / inner points are where the architecture becomes richer.

Section

The building is arranged as a gable roof and L-shaped, whose main entrance is a large hollow by c / Marilyn Monroe and fully facing to the Inacua Pools building. Shelter in such space with separated access are the restaurant, the shop and the reception of the club, the latter preceded by a partially covered courtyard that serves waiting for visitors and players.

Courtesy of Luis Machuca

Towards the interior, the building is opened to a large courtyard, ranking well on the one side the locker room and on the other the restaurant, turning the courtyard into the social center of the whole installation.

Plan

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© Michel Denancé

• Architects: In&Edit Architecture
• Location: 96 Boulevard Bessières, 75017 Paris, France
• Area: 4242.0 sqm
• Project Year: 2013
• Photographs: Michel Denancé

• Project Budget: 9.500.000 €

© Michel Denancé

Plan

Ecole 42 is a new is a private French computer programming school funded by Xavier Niel 

Located in the heart of Paris (in the 17^tharrondissement). Its innovative approach challenges the traditional educational system by providing training that is ‘free, open and accessible to all’ and is based around Peer 2 Peer learning. 

© Michel Denancé

In&Edit architecture were commissioned to imagine create an original concept for an environment which would support the needs of its unique pedagogical approach.

The site, a former government building built in the 1960s with a space of over 4200sqm was largely preserved with no change to the existing structure. Internally, the architecture responds to the need for collaborative learning spaces by providing places for interaction of various scales and atmospheres.  Over four levels, the students have access to workstations configured to optimize collaboration while a series of purpose built pods offer a sense of enclosure depending on project needs.

Courtesy of IN&EDIT

The treatment of the façade was pivotal in creating a strong identity and street presence. The addition of a perforated mesh ‘skin’ creates the impression of a continuous volume from the exterior whilst improving the building’s thermal performance. 

© Michel Denancé

Based on the idea that digital technology have destroyed any remaining regularity IN&EDIT has created interior furnitures far from classic geometry

Each piece has been designed and plugged in different spaces following needs and functions to be able to create a strong identity for 42 Concept.

© Michel Denancé

Section

Section

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