MVRDV’s design for the Dutch exhibition “Hola Holanda” at the Book Fair of Bogotá (FILBO) features a modular system of crates that will be repurposed as neighbourhood libraries after the Book Fair ends. Avoiding the waste of resources created by one-time pavilions, the Dutch firm has introduced a playful element of sustainability to the fair, maintaining its spirit even after the event ends.
FILBO, is one of Latin America’s most important trade events, partnering with a guest country each year to host a main pavilion. This year, the Netherlands and Colombia partook in an exchange of knowledge and culture, with an exhibition designed by Dutch designer Irma Boom and the Dutch Embassy in Colombia.
At the center of this activity, MVRDV’s pavilion circumvents the common problem of pavilions and exhibitions disappearing after an event, rather than benefiting surrounding communities. The pavilions within the Dutch exhibition were designed as a collection of over one thousand “vividly coloured” wooden creates, which can be easily deconstructed and re-assembled.
Each unit uses standardised wooden panels, leaving little waste material, and allowing “unlimited possibilities for reconstruction throughout their lifetime.” After the event, the pavilions will be distributed throughout Bogotá as libraries, and social and education spaces.
Exhibition Layout Diagram. Image Courtesy of MVRDV
“Our design is a village, an accessible, democratic design for all, executed in the best Dutch spirit with some fun,” says MVRDV founding partner Jacob van Rijs. “But it was important also to comment on the trade fair system. Instead of trashing an expensive pavilion after a short use we wanted it to be reused adding long term value to the city.”
This building settles in plan to an irregular and tight plot which imposes its perimeter shape. For a better adjustment, the program is fragmented in to two big apartments in each level, leaving in the middle a long shaped hall which allows to change the direction, turning to find the most favorable position obeying simultaneously with a strict urban regulation regarding the setbacks and visual control towards other buildings. Its shape is also the shape of the plot.
2. Program
In section the building adapts to the high inclination of the plot, leaving the main access at street level, 4 inferior levels for parking, 13 above levels of apartments and a final level with a terrace, common areas, gardens and a pool. In the first nine floors there are ten and eight apartments of one level, and in the final four floors, four apartments of two floors and double height in the social area. The area of these apartments varies between 160 and 280m2, they are thought to be for big, conventional and families with children.
Although in plan the both built volumes have variations in their orientation, in reality its main façades and most extensive, face the strong sun of the morning and afternoon in a tropical environment without seasons and constant climatic conditions. To maintain the building in shade throughout the year longitudinal and continuous eaves have been proposed. They gain and lose depth according to the spaces they protect, always widening in the social areas and in the bedrooms and decreasing in service areas. Balconies and terraces are always located in the interior of the façade’s perimeter and the windows are always positioned in between eaves. Strategic openings have been considered to favor cross ventilation in the interior of the apartments.
Before impermeable urbanism, this buildings tries to do the opposite: instead of closing itself completely inside a control fence, its outline is exposed to the street, it can be touched and it locates in the first level the access booth and premises for a café which can be used by both the neighbors and the community in general.
Situated in a former industrial district in the southern Dutch city of Maastricht, it’s perhaps fitting that the Bonnefantenmuseum has often been called a “viewing factory.” The museum, with its ‘E’-shaped plan and distinctive domed tower, is one of the most prominent landmarks along the River Meuse that flows around the city center. Europe’s rich cultural history was a key impetus for architect Aldo Rossi’s design, which employed a number of historical architectural gestures to place the Bonnefantenmuseum within a collapsed European canon.
Courtesy of Flickr user l a b e t e
Maastricht, capital of the Dutch province of Limburg, has a history which stretches back to the Roman Empire. It was in this city that the Maastricht Treaty, which ushered in the European Union as we know it, went into effect in 1993. For over a century, the Bonnefantenmuseum has served as Limburg’s premier museum for archaeology and fine arts.[1] The collection was originally housed in the Bonnefantenklooster, a monastery in central Maastricht from which the museum derived its name.[2]
At the beginning of the 1990s, the Province of Limburg committed €40million to construct a new museum building in the Céramique – a former industrial estate directly across the River Maas from Maastricht’s historic center. The Bonnefantenmuseum chose to commission Italian architect Aldo Rossi for its design, as the museum’s director Alexander Van Grevenstein believed he “coupled great expressive inventiveness with a reserved visual language.”[3] The project had a clear, deceptively traditional, outline: a series of galleries lit from above and the sides, organized into wings and surrounding a central stairway.[3]
Rossi’s volumetic proposal was essentially tripartite, comprising a main building, a cylindrical body with a dome, and a belvedere to allow visitors to soak up city views.[4] The main building is laid out in the shape of a large, symmetrical ‘E,’ the arms of which face the bank of the river. The central arm abuts the domed tower, the most prominent feature of the museum’s riverfront façade. The main building is constructed from traditional materials – namely brick, stone, and wood. The heaviness of these materials, however, belies the permeability of the walls, which are designed to admit enough daylight to naturally produce brightness within the gallery spaces.[5]
Natural daylight was key to Rossi’s control over the visitors’ experience of the museum. The front and sides of the museum are closed while the walls of the central wing, which forms the main axis of the museum, are open. Punctuated openings in the building’s brick façades interact with both the artworks and the circulation routes, turning a trip to the museum into a “promenade architecturale.” The long central stairway, meanwhile, is bathed in sunlight from a fully glazed ceiling, creating the sense of a covered street rather than an indoor space.[6]
This staircase is perhaps Rossi’s most symbolic architectural gesture. It is, according to his own description, “linked to the world” – drawing a parallel between the seafaring nations of The Netherlands and Portugal. To paraphrase the Portuguese poet who inspired Rossi, The Netherlands could be seen as the country where the land ends and the sea begins.[7]
Montagnes de Liege. ImageCourtesy of Flickr user Stephane Mignon
Curiously, and despite Rossi’s stated connection to Portugal, the inspiration for the stairway actually comes from a Belgian example: the Montagne de Bueren in Liège.[8] The 374-step outdoor stairway forms a clear visual parallel with the central stairs of the Bonnefantenmuseum, albeit built of weathered stone instead of the museum’s polished hardwood.[9]
While the central stairway is the interior’s most defining feature, the exterior is visually dominated by a domed cylindrical tower. Although it is not detached from the museum proper, it is set apart visually: its circular dome, clad in lustrous zinc, stands out against the rectilinear brick of the main museum building.[10] As with the staircase, the dome was specifically intended by Rossi to reference Europe’s classical architectural canon. He specifically chose to reference the work of Alessandro Antonelli, a Turinese architect whose slender classicist dome over the Basilica of San Gaudenzio likely served as an inspiration for its similarly-proportioned counterpart atop the Bonnefantenmuseum.[11,12]
Basilica of San Gaudenzio. ImageCourtesy of Wikimedia user Marco del Torchio
References to classicist examples were entirely within character for Aldo Rossi. He objected to the Modernist notion that all historical forms and aesthetics must be entirely abandoned; instead, he argued, architecture should respect and connect to its urban context, thereby preserving the fabric of the city instead of upending it with architectural non sequiturs. In Rossi’s view, certain forms and ideas have remained essentially consistent in the history of architecture. In this way his own designs were physical manifestations of his interpretation of architecture. Whether his design for the Bonnefantenmuseum, with its austere brick façades and its contrasting metal dome, merges seamlessly with the fabric of Maastricht is ultimately up to debate.[13]
The new Bonnefantenmuseum first opened its doors to the public on March 9, 1995. Over 175,000 people would visit the museum by the end of the year; a full fifty thousand would visit within the first six weeks of the new museum’s opening, surpassing visitorship for the entirety of the last year the old location had been in service. A survey taken in 1997 indicated that 73% of visitors specifically appreciated the architecture of the new building – a greater percentage of visitors than were satisfied with the art collections themselves.[14]
Although Aldo Rossi passed away only two years after the Bonnefantenmuseum officially opened its doors, his creation remains a landmark in Maastricht. His own words, written during the design phase, can now be read as a retrospective on the creation of the Bonnefantenmuseum: “But now, just as if we were standing on the belvedere, we can view the museum as a whole, perhaps a lost whole which we only recognize thanks to those fragments of our lives which are also fragments of art and Europe of bygone days.”[15]
[1] Richards, Greg. Cultural Attractions and European Tourism. New York: CABI Pub., 2001. p94. [2] “Bonnefantenmuseum.” Steden. Accessed April 4, 2016. [access] [3] “The Building.” Bonnefantenmuseum Maastricht. Accessed April 5, 2016. http://ift.tt/1QGWxwR. [4] Rossi, Aldo. “Verlust der Mitte.” Bonnefantenmuseum Maastricht. Accessed April 5, 2016. [access] [5] Richards, p96. [6] “The Building.” [7] Rossi, “Verlust der Mitte.” [8] “Bonnefantenmuseum.” [9] “Stairs of Bueren.” Steden. Accessed April 4, 2016. [access] [10] “The Building.” [11] Rossi, “Verlust der Mitte.” [12] Bordino, Franco et al. Alla Scoperta Del Neoclassico Attraverso Le Opere Di Alessandro Antonelli. Turin: Agenzia di Accoglienza Turistica della Provincia di Novara, 2008. [13] Zukowsky, John. “Aldo Rossi.” Encyclopedia Britannica. Accessed April 5, 2016. http://ift.tt/1UnAeDf. [14] Richards, p98-100. [15] Rossi, “Verlust der Mitte.”
Photographs: James Taylor-Foster, Courtesy of Flickr user Jim Forest, Courtesy of Flickr user l a b e t e, Courtesy of Flickr user Sebastiaan ter Burg, Courtesy of Wikimedia user Kleon3, Courtesy of Wikimedia user Marco del Torchio, Courtesy of Flickr user Stephane Mignon
From the architect. Elongated site is situated next to a valuable villa by architect O. Novotný. The newly built house is positioned in the lower part of the site, to secure enough space for the new as well as the existing villa.
Courtesy of Atelier K2
The footprint of the house in “C” shape defines an atrium orientated towards the main garden. In the perspective from the main residential garden, the house with an atrium is divided into several smaller parts, while in the view from the entrance side, it employs its compactness.
Plan 2
The house has most of its living spaces on the ground level, to profit from their connection to the garden. The ground floor is designed as a generous social platform, including the swimming pool, study and the bedroom. Level of the floor gradually follows the gently sloping terrain. Atrium is approached as a private exterior room. Two bedrooms and a bathroom are situated on the upper level. In the basement, the utility rooms as well as garage for two cars are situated.
The dining space represents the center of the house – a living hall. The significance of this space is emphasized with the vault ceiling and additional natural lighting of the space below the vault top. Height of the vault enables illumination of the space from the upper area transverse to the space from the eastern and the western sides. Sunlight is therefore present in the center of the house throughout the whole day.
Section
Section
The entrance hall with glazed ceiling evokes the sense of an outside courtyard. The hall subsequently brings natural light to the basement. The house is intended to be enveloped by vegetation – roofs exposed to view are realized as green roofs, the entire house is intended to be covered with climbing plants. Profiled concrete ceiling visually unites varied spaces of the house. Windows of the first floor will be shaded by sliding timber shutters, which in the open position join the windows into a horizontal strip, which corresponds with the living room windows on the ground floor.
From the architect. MUNWOOD LAKESIDE is one of the two design hotels built by IDO (Init Design Office) in Dali, Yunnan province in resent two years. Located beside Erhai lake, Jiapeng village, it is expanded and reconstructed originally on a farm house, which was transformed from 300 sqm to 1000 sqm. IDO took the control of the whole process in the design and construction from site planning, architecture and construction design, indoors (including soft, furniture design and site fabrication field production.)and landscape design to construction site. After two and half years design and construction, it is now open for business .
MUNWOOD LAKESIDE locates in west road, Erhai lake, Jiapeng village, Dali, which is the smallest natural village around Erhai lake. The village is surrounded by a unique natural landscape – Haixi wetland，where willow catkins are fluttering, waterfowls are cruising, sky and lake are blue. The village is beautiful and quiet with five or six Inns along the wetland shoreline, and MUNWOOD LAKESIDE is among them.
Courtesy of Init Design Office
Project background
Big to city complex or small to private clubs, IDO has completed lots of business projects since the past years. However, a lot of really good ideas cannot be achieved due to various reasons, especially the quality of Party A is not high in the western part of China. We are holding the view that a good building must be the result of the multi – force, particularly a “good” party A. In order to build a house, satisfied by architects themselves, we decided to “ be part A ourselves!”, so we made the decision of going to Dali to build a house at the beginning of 2013. We then encountered various new problems from Party B to Party A, like lack of money. So we established Munwood Hotel Management Co. Ltd, encouraging several architects friends who hold the same pursuits to join the investment team. However, we came to realize that Party A was never an easy job, and a great deal of practical problems needed to be settled. The construction site needed to be controlled and all kinds of relations needed to be coordinated; the plan had been changed lots of rounds, but it was changed to satisfy us own this time. Fortunately, solutions were more than difficulties. In the process of solving practical problems, we shrived to adhere to the basic principles of Architecture.
In those two more years, we acts as not only Party A but also Party B.
Elaborately planned, designing from the user experience: we strive to live up to “Design to create value” by analyzing the use behavior patterns of hotel guest’s , and focusing on the user experience.
Courtesy of Init Design Office
Control the cost and emphasize “the suitable construction strategy”: architects can make the space higher quality by controlling the construction ways, in spite of the relatively low construction costs and backward construction technology conditions in Dali.
1st Floor Plan
Emphasizing the sense of social responsibility: Despite the municipal pipe network is not perfect in the Erhai ring road, and investment costs are really limited, IDO spend hundreds of thousands of RMB to equip the reclaimed water system, which can be used as the garden landscape water after the sewage treatment, not discharging a drop of sewage in Erhai.
Architects’ discourse power: The development and construction led by architects can push the construction and operation of the project to a benign, achieving multi- win-win results among the user, the owners and the community, rather than traditional pattern of pursuing return on funds in extensive real estate development period.
Axonometric drawing
Promotion on the design by post occupancy evaluation: The inn has been put into use for nearly one year, and the feedbacks of the guests serving as the real building evaluation to promote hotel design in future.
We believe that this is a pattern transformation, especially in the current economic transition, the role of the architect may be rethinking in the post real estate era.
Layout: Controlling the scale, break up the whole into parts and slope roofs echo surrounding farm house .
Courtesy of Init Design Office
Boundary: The stone walls ,being served as a boundary ,make the relationship between the inn and the surrounding neighbors are not only different, but also contact.
Creating multi-level public space experience, it established the relationship between the architecture and Erhai Lake from multi dimensions , so that users can get what they need and do not interfere with each other. However,the most difficult part of design is to cross the front road to enjoy the Erhai Lake. The relationship between the building and the road is difficult to deal with. So a half sinking public space was designed to make a link. Space below the partition can make a psychological link with the water .While the platform built on the space established a more direct relationship with the Erhai Lake. This platform used the steel structure which was quite different from the main body. The elevation is reduced to establish a close relationship with the same floor ground. The building on the right side of the platform is open for two reasons. For one thing, make stream line below always feel in the spacious outdoors; for another, seen from the road, it looks more ethereal and light, unlike the surrounding houses which were very thick.
Courtesy of Init Design Office
Focus on the relationship between the modern and traditional architectures
Low technology as a strategy: It is widely applicable to select the regular structure and construction system under the restriction of cost and local construction conditions.
Contemporary expression of traditional materials: Focus on the relationship between modern and traditional architecture; create a resort atmosphere with plain materials by employ stone walls in frame system which is a mature approach to local artisans.
Courtesy of Init Design Office
Reuse with old materials: furniture furnishings are made from local dismantled wooden beam system, reflecting the traces of time and a place-based state .
Courtesy of Init Design Office
Plants and lives：A one-hundred-year old tea tree is planted in the heart of water courtyard, which leaves can be roasted in the fire pit. While the fruits of pomegranate and plum in the courtyard can be brewed into wines, that will be a welcome drink at the time of arrival. The vegetables picked in the backyard can be served on breakfast table. The designer intends to convey a simple life concept to the user.
Courtesy of Init Design Office
Ecological strategy and environmental protection:
Besides localization, we also emphasize the sense of social responsibility as an architect. Make full use of the local climate advantages to employ solar hot water system. For the “do not drop a drop of sewage in Erhai”, despite the municipal sewage pipe network is not perfect there, we spend hundreds of thousands of RMB to set 10-ton water treatment system, purifying and reusing for landscape water. We express the love for the natural environment with the responsible attitude; and set up the display window of the water system at the main entrance of the hotel to convey the idea of environmental protection design to the guests.
The original design was a lean-to roof (Model photos),expected to be a more modern tendency of new vernacular architecture; however, it was regret that it was changed to the double pitched roof ,due to a sudden control of style in the construction process. While what make us excited and beyond our imagination in the modification is that the internal rooms and lake view constitute more spiritual space under the frame of the double slope roof.
From the architect. Jaggendorf House, at 10 Yehuda HaLevy Street, was designed in 1925, by the architects Liberson and Feinstein, in the eclectic style. The building was declared conserved according to the conservation plan and located in the area declared a cultural world heritage site by UNESCO. The house represents a somewhat minimalist style from the 1920s, with the symmetry mainly expressed on the west side. The façade includes an arcer and a projecting balcony with a parapet, as well as an upper section that conceals the tiled roof. The façade is rich in rectangular reliefs, decorated cornices and moulding at the roof edges. At the rear of the house one can discern the sandstone restricting the railway line that was laid here in 1892.
In the early 20th century the “Homestead Association” introduced a novel idea: no longer would small and crowded neighbourhoods be built, devoid of prior planning, such as Neve Tzedek and Neve Shalom, but instead a new, Hebrew, pre-planned city would be constructed, which would alter the face of the settlement in the land. This new approach constituted the complete opposite to the typical eclectic construction of the Homestead Association. The project revealed this new look not only through its turning to the city but also through the architectonic space of each of the apartments. The addition and the original building became one homogenous unit through the use of black zinc plating to coat the roof, walls, stairwells and window sills. The monolithic colour stressed the solid sculptured appearance of the building, shaped by the multitude of functional elements beyond the clean space of the apartments.
The design of the addition responds to the geometry of the original tiled roof that characterised the eclectic houses of Tel Aviv. The zinc-plated walls of the addition frame the urban landscape. The building’s functions that need to be enclosed (e.g. stairways, lift, toilets, etc.) are located in the tin “pigeon-holes” that protrude from the side walls. The geometry enables each apartment to have a view of the city, with the sun at twilight penetrating deeply into the space. The floor plan is simple but the change in vertical levels creates an experience of change in space and an inclined orientation inside the apartments, somewhat resembling that of a loft.
Axonometric
Roof Sections
The project exploits a maximum use of the ground as determined by the conservation plan. The distorted and inclined body of the addition follows the restrictions of the conservation plan quite literally. Each individual point on the roof depicts the maximum height permitted for an addition. The amorphous shape of the addition is increased by the “pigeon-holes” – the reliefs – fire escape and access to the stairwells. These additional elements help to integrate the fragmented appearance of the project into the environment. The project overlooks the remains of the early settlement in Tel Aviv, like a theatre setting: the original building is the stage, the old houses create the second layer and the new town provides the background.
From the architect. The site of two houses at Nichada Village is located in a suburban gated community in Bangkok, Thailand, where the land plot is very tight for two houses. The houses belong to two brothers, who are very close, yet, have a different lifestyle. They wish to live close to each other and spend some time together. However, they also wish to establish a private distance when they need. The architect initially began the design process by using one simple building typology and repeat it on both houses. However, once this design development get into the detail level the logic of repetition has evolved to response to a difference need of two different individual. As a result, these two houses at Nichada do look appropriately similar on the first glance, yet they can contain their own specific atmosphere once we dwell within them.
The typology of these two houses is organized in a long rectangular format. The automobile garages are located on the west at the entrance of the houses, and the main double volume living area is on the east at the end of the houses. Then, programs such as foyers, dining area, kitchens, toilets, and guess bedrooms are place in between the garages and the living area to perform as a transition from the outside as we move further inward to house. The main master bedrooms are placed on top of these transitional area allowing a direct visual dialogue to the main living area. Both of houses are visually connected as one big living room through the large sliding doors on both house, and they are marked the edge of the house by single flight stairs. Basically, these two house share this repetitive logical organization.
Cross Section Houses A/B
However, in sense of dwelling, these two houses contain a different atmosphere which reflect the character of the owner. The white and blue house is belong to the elder brother, a professional golfer who enjoys outdoor lifestyle but also love to be in a solitude atmosphere. He wishes to spend most of his time working, dining, and relaxing around the living area, and only wish to retreat to a bedroom at late night. To achieve the wish of the client, the architect decided to make a large opening on both the north and the east of the living area in order to let the light to cast through the large double volume white brick wall, the main core element of this house. The other elements both brick and blue color wall, are chosen to work as a subtle contrast effect between calm and vibrant atmosphere.
The dark brown house, on the contrary, reflects a different character of the younger brother, a night club entrepreneur who love to party. From the beginning, he expressed his desire to dwell in a dark raw industrial like atmosphere, but the house should also be cozy as well. Again, to achieve his wish, the architect repeatedly uses light as a tool to define the atmosphere of this house, but at this time, he intend to cast the light in order to create a subtle dramatic affect for this house. First due to its position where the living area has to face the south side in order to visually connect with the elder brother’s house, it is not proper to exactly repeat the double volume glazing similar to elder’s brother sliding door. A large corner opening sliding door at the lower level and the solid blank wall with few opening at the top level of the living room was used to maintain the concept of connection between the two houses. On the other sides of the top part of the living area, rather than a large opening window similar to the elder’s brother house, few narrow opening were used to control amount of sunlight to create a lantern effect to this room. In return, rather than providing a grand monumental effect like the white and blue house, the details of this dark brown house have shape the house to be more in a subtle dynamic mood.
Though these two house initially begin its design process by adapting the same building typology, however with a careful concern to the individual personality of the dwellers, the site’s climate and contextual, this one building typology will gradually transform to response the specific needs of the requirement. The architect strongly believe that this design approach can allow the architect to establish the coexisting relationship between being unique and being uniform all together.
From the architect. A closed complex of modernized and new buildings meets the needs of a modern industrial works. There is a new office building close to the river and a bike path, and a repair hall with a crane runway and workshops by the road. Grown trees separate both parts of the complex.
The complex will substantially upgrade the original deteriorated condition – green areas will be larger complemented new pathways. The shape and size of buildings respond to the natural shape of the lot and copy its borders. Buildings are mutually positioned to establish differentiated environment outside and inside the area and a screen visually and functionally separating the industrial complex from the main roads.
By its morphology and traditional building materials – wood, concrete, glass and steel structures for shading sails/screens – the oblong office building evokes the relation of the business with water and with water structures. The main wall is clad in wood and window openings cut through it act as a flood barrier at the same time. It is continued by a glazed part, shaded by a system of independent sails set in front and terminated by a reinforced concrete gable roof.
“What is the most expensive object on Earth?” posits an article by Ed Davey published by the BBC. A new nuclear power station being being in the south west of the United Kingdom may well end up holding the title. At £24 billion ($35 billion) Davey estimates, “you could build a small forest of Burj Khalifas – the world’s tallest building, in Dubai, cost a piffling £1bn ($1.5bn).” The article later compares the construction to other projects like bridges and particle accelerators, as well as historic precedents like the Great Pyramid of Giza, the Great Wall of China, Hong Kong International Airport, or the International Space Station – the last of which cost a whopping $110 billion. But comparing monumental building and engineering projects comes with some caveats, such as: “what is strictly an individual object?” “Is cost measured by today’s values or those at the time of construction?” “Are we talking about modern methods or those used historically?” Read the full article here.
From the architect. Based in Cartagena, Valparaiso Chile, the project is located in a subdivision area, small plots and home built by their owners. The exact site is a parcel of land of approximately 10 x 20 meters, with a gradient of approximately 15% that runs along the lots from east to west.
First Floor Plan
The land has been inhabited (or occupied) for the last ten years by a train car. It worked as a sleeping wagon, and recently adjusted to something like a stationary home living place by an old lady who used to work as an English teacher, and who lives alone since 2010.
Courtesy of Crescente Böhme Alemparte
Courtesy of Crescente Böhme Alemparte
Because of the land, since its very narrow, and its rare in front of the sea, the train car was re-located along its diagonal , seeking a foreshorteningview of the sea , but with no success given the conditions of the land itself.
The requirement is modest but significant, it has been asked to extend the zone inhabited and sum a bedroom, living room, bathroom and a terrace in a space of no more than 35 M2. Therefore we design a strategy which consist in building a metallic squared table of 6.2 x 5.3 meters, as far as it can be from the front, passing under the train car, and set up a volumetrically independent body above it, all interconnected by interior stairs.
Model
Section
We thought of a neutral and contemporary esthetic, trying to make -and highlight- a difference with the train car, while it allows to conserve its identity and presence by contrast. However, and despite their difference, there are two elements taken from the image of the train car, in an attitude of rescuing and re-interpreting its preexistence: steel and wood. Thus, in order to achieve this idea, we designed a structure based in pillars and diagonals of steel, as the support of the volume sheathe by wooden slats and painted in black to highlight the red in the train car.
Sig Nordal 