Iwan Baan has unveiled a new series of images depicting a snow-covered Harbin Opera House by MAD Architects and its surrounding landscapes. The northern Chinese city of Harbin is known for its brutal winters where temperatures can reach -22°F (-30°C). In the photographs, the Opera House’s sinuous white aluminum cladding echoes the ice formed in the adjacent river. “Harbin is very cold for the most of the year,” says MAD principal and founder Ma Yansong. “I envisioned a building that would blend into the winter landscape as a white snow dune arising from the wetlands.”
The creation of bridges to access Harbin Cultural Island, where the Opera House is located, has also opened this previously inaccessible wetland to year-round foot traffic. This enabled Baan to photograph tourists, dog walkers, and local ice fishers visiting the facility and adjacent landscape despite the extreme cold. The photographs have come out alongside a behind-the-scenes film released by NOWNESS, in which Baan explains, “I’m not trying to create timeless images that could be in any moment in time. They should always have a strong connection to a specific place, time, people, context, or culture.”
From the architect. When an empty-nester couple made the decision to downsize, they knew they wanted it to be to a low-maintenance, age-in-place home, as well as an architectural showpiece. They had tried condo living but it lacked the familiarity of a low-rise dwelling. Their son, a builder, encouraged them to push beyond their traditional aesthetic and create a custom, contemporary home — something that he could help them build.
To carry out the design, they engaged Architects Luc Bouliane, who quickly established a trusting rapport by paying close attention to the couple’s specific lifestyle. The studio used its distinct design approach to create an easy-keeping ‘forever’ residence that subtly responds to the nuances of the couple’s needs, both now and in the future. Architects Luc Bouliane embraced the challenges and opportunities of the site to derive the bold, adventurous aesthetic, one that carefully balances spatial complexity and practical simplicity.
Ground Site
As a firm, Architects Luc Bouliane often will look to natural forms, both geological or geographical, for inspiration. The interest dates back to founding partner Luc Bouliane’s childhood: he was raised on the rocky shores of Lake Superior in the steel town of Sault Ste. Marie. In the case of Relmar, the ‘geode’ — a stone with a rough shell that conceals a glinting centre — became an apt metaphor as strategies were derived to maximize natural light. Although the home faces a quiet, midtown Toronto street — abutting the leafy Cedarvale Ravine — the narrow lot sits due north, in the shadow of a low-rise apartment building.
Like a geode, the exterior of the project is weighty, with a hard, black brick-and-limestone facade. It cracks open at the roof skylights that wash the interior walls with sunshine. To help flood the spaces with light, the stairs are shifted off the reflective, polished limestone walls, creating a three-storey, uninterrupted atrium with the kitchen and living room on the ground floor, a mezzanine office space that hovers above on the second floor, and the bedrooms on the third. The views add to the refreshing feeling by focusing on the ravine and the intensive green roofs on the backyard garage.
2nd Floor Plan
In addition to creating a lasting aesthetic, Architects Luc Bouliane discretely and purposely built into the architecture many features that will enable the home to last for the owners. An elevator is tucked near the kitchen to provide an alternative to the flights of stairs; the driveway and back patio are heated to prevent ice build up or the need for snow shoveling; the washroom floors and heated benches are tiled in a slip-resistant surface, and come prepped for future safety grab bars; and the basement includes a health spa, gym and a future suite for live-in support if required.
To help offset construction costs and to add density to the formerly single-family lot, a similar, semi-detached residence adjoins to the north. It shares the same critical architectural language; a hard ex-terior and crystalline forms, but remains flexible enough in the interior to allow a family to move in and adapt spaces to their needs. Most importantly it shares the access to natural light, which no doubt will delight any homeowner, regardless of age or stage in life.
Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning
Kengo Kuma & Associates, in a team with Cornelius+Vöge and landscape architects MASU planning, have revealed plans for the Hans Christian Andersen Museum in Odense, Denmark. Channeling the otherworldliness of Andersen’s fairy tales, the 5,600 square meter building is two-thirds below grade, leaving ground level space for “enchanted” gardens of large trees, lawns, box hedges, and tall shrubs. The museum building is an ambling collection of cylindrical volumes, with glass and lattice timber facades beneath scooped green roofs, all surrounding a sunken courtyard space. The project will replace an existing museum that is largely focused on the author’s personal life with one that is more centered on his stories.
Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning
“The proposal has a unique quality,” said Odense Mayor and jury member Anker Boye. “[It] captures the spirit of both Hans Christian Andersen and Odense, has striking international calibre and is locally embedded at the same time.”
Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning
The architectural competition was preceded by a separate contest to organize the exhibitions, and the building responds to the winning plans of design group Event Communications. The museum will also play host to Tinderbox, a children’s center themed around Andersen’s fables.
Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning
According to Jane Jegind, Odense’s head of cultural affairs, “It was important to us that gardens, building and exhibition design were envisaged as an interconnected whole that clearly captures the spirit of Andersen and brings out the essence of the city of Odense at the same time.”
Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning
The team’s design beat out other major contenders, including BIG, Barozzi Veiga, and Snøhetta. Project funding is expected to be secured later this year, and completion of the building is expected in 2020.
Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning
From the architect. An invitation to the public is made through large entrances without physical barriers and with a welcoming character. The folds guide the route and encourage curiosity to discover a new space. An exposed concrete pure monolith, gives life to the new cultural center of the city of Sao Paulo, Brazil.
Located in Campos Elíseos, central area of the city, in the corner between Alameda Barão de Piracicaba and Alameda Nothmann, the proposed architecture comes with a series of measures aimed towards the urban revitalization of the region.
Known in the 40s as the “paulista” elite neighborhood and home of the headquarters of the Sao Paulo’s Government, Júlio Prestes Train Station and Luz Train Station. The region went through a messy process of development, and currently Campos Elíseos has abandoned mansions and a deep stage of social problems, with that, it ended up receiving the nickname of “Crackland” due to the excessive consumption of hallucinogens that occurs in the local streets.
In contrast to this harsh reality, the new cultural center came to encourage the transformation of the region and improve the local urban scene. Designed to be a place for development and presentation of the most varied contemporary artistic expressions, the space aims to present exhibitions, workshops, courses, symposiums, parties and festivals. Therefore, the diversity of the spatiality of the interior spaces was designed to give high flexibility of use, making possible to use diverse layouts and scales of exposures; facts that enrich the experience of the local user.
The concrete facade with folds creates shadows that become light when the visitors access the interior of the building. The Cultural Center program is divided into areas of support (administration, museology, classrooms and bathrooms) and exhibition spaces. The building receives folds that face the traditional formalism for an art gallery. These folds compound the technical organization dividing the exhibition spaces, guiding the access and ensuring good acoustic, because it breaks the wall’s parallelism.
In spaces where lighting and ventilation is necessary such as: management, museology, classrooms and bathrooms, was idealized a differential front where the glass facade is protected by a second skin, a separate element of concrete and wood, creating an unusual facade.
Another interesting aspect of the building is the way to access the mezzanine through a ramp that is projected to the outside, creating the opportunity of a differentiated contact with the external environment, and generating a desirable pause for the transition of pavements. Also this transition space is an opportunity to contemplate the School of Arts and Crafts of Sao Paulo, a building with historical significance for the city.
In addition to the asymmetric architecture of concrete, the complex also features a public square that articulates a cultural space with other local facilities (restaurant and gift shop). Art can, therefore, exceed the physical limit of the building and create alternative exhibition spaces outdoors.
The goal was to resolve the architectural brief using pure volumes, limited only by plastically designed facades that indicate internal functions, secondary volumes and vertical circulation. The integration between spaces allows visitors to make a contemplative contact with the external environment. Asymmetrical shapes and contours stimulate the discovery of space. The natural light becomes the main artist in the architecture, openings in unusual and different locations, make lights and shadows to fill the spaces with a kind of natural art.
The Cultural Center used a reinforced concrete based system, in addition of being a widespread, and known to local labor technique, it had a great influence on modern Brazilian architecture. The use of concrete was essential to get the plasticity that the architecture needed. The malleability capacity of the material facilitated the construction of the shapes requested by the project. Therefore, the structural elements are components that gives the building, as well as other materials used, plasticity and functionality.
Japan has long been one of the centers of production when it comes to avant-garde architecture, stretching back to the middle of the 20th century with Modernist masters such as Kenzo Tange. As one of Japan’s new, emerging architectural leaders Shuhei Endo – the founder of architecture firm Paramodern – believes the country is still well positioned at the forefront of architecture, creating new responses to the concept of modernity itself. In the second interview from our series covering “Japan’s New Masters,” Ebrahim Abdoh speaks to Endo about what it means to be “Modern” in the modern world, and how these ideas have influenced his architecture.
Ebrahim Abdoh: What is your earliest memory of wanting to be an architect?
Shuhei Endo: When I was a child at elementary school, one day, the teacher took our class to an architecture exhibit in Osaka. The year was 1962. I remember seeing all the drawings, and models of these strange buildings. It was that day that I heard the words “architect” and “architecture” for the first time. Many years later, I applied to university to study architecture and got in. I always wanted to see the world. In my first few years of university, I went on a trip all over Europe. If that little exhibit I went to in Osaka was my baptism, then Rome was my confirmation. When I walked into the Pantheon… that is when I knew that I had made the right choice.
EA: What would you say was the most important lesson you learnt at University?
SE: To travel. I traveled so much… internationally and domestically – all over Japan. In that sense, traveling is not a lesson, it is a tool. What you learn, “the lessons” as you say, are taught by you to you – they are everything you see, everything you notice, pick up and adapt to your own ideas. I still don’t know if architecture can be taught; for me it’s just a journey.
EA: Most architects I’ve asked that same question of usually answer with a quote from a famous former professor or master of theirs. From your answer, it sounds as though you are casting doubt on the whole university experience. In your mind, how necessary or pertinent do you deem university to the formation of an architect and specifically to your former self?
SE:I did not benefit and do not see the point in the academic side of university. And for me university was not about academia. I benefited a lot from the social aspect of university. Think of it as a place that groups young people with the same passions and ambition under the tutelage or supervision of your idols. University is crucial for the conversations, the discussions, and all the interaction between friends and professors. Just as you learn from travelling, you learn through your relationships with others.
EA: On top of managing your practice, you are a professor at Kobe University. If there is one thing you’d want your students to take from you, what would it be?
SE: To move forward, you need to look back. The importance of history, and ancient history of architecture… Egypt, Greece, Rome, etc… including traditional Japanese architecture. I cannot stress enough the importance of the past.
EA: Where did your firm’s name “Paramodern” come from?
SE:Modernism, with a capital M, has long been dead. People who wrongly say “I am a modernist” are merely adopting a style; a style which no longer has the same purpose because the parameters have changed so much since the day the term was first coined. However Modernism as a design method, as an approach or strategy to the constraints of a particular site or project, is absolute… for now. All “Paramodern” means, is appreciating Modernist principles, all the while acknowledging that the parameters of architecture as well as the built and social environment have changed, meaning necessarily that the resulting project will be different and also maybe look different…hence Para-modern.
EA:So is that a critique of Modernism and The International Style? Is it a critique of the architecture that students are still overwhelmingly taught today at University, and mostly end up imitating to a certain degree? In your previous answer, it seems to be that you are not criticizing modernism, in fact you praise it, but only within its context. So are you criticizing Modernism as a whole, or just Modernism in 2015?
SE:The world and everyone in it do not progress at the same time. Some get there early, and some a bit late. There is a sort of cultural time-lag between individuals and groups of individuals. In my opinion, Japanese architects are very much at the forefront of architecture, and we have been very successful at reworking modernism, and remolding it, into something culturally appropriate.It is my belief for instance that climate-change is the single greatest threat to the world and our species. In Japan we understand that, because we bear the brunt of Mother Nature’s brutality.
Many of my buildings are the results of experimentation with cheap, reusable, and sustainable materials. They may not look as glossy as these vast concrete villas in Ibiza, or as futuristic as the skyscrapers in Dubai, but in a way, what I build is more modern, because it is not only more appropriate for the world we live in, but also the world we are moving dangerously fast toward. Modernism to me was the result of the combination of democracy and capitalism. However both democracy and capitalism have changed, and continue to change, so it’s now time for something new, bearing in mind that something new might look a little bit older than what we’re used to seeing… think a little bit less “Star Wars,” and a little more “Waterworld” with Kevin Costner.
EA:What are you immediate and longer term ambitions?
SE: I have one ultimate dream as an architect… To design and build an aquarium. I have done many projects across Asia and Japan, and would like to get to do some projects in Europe and also Africa. To be able design for another culture is a very exciting prospect.
EA:Do you ever question or doubt yourself?
SE: Yes. All the time. I am in a constant and never-ending conversation with myself. It is actually very annoying. Not only do I question myself, I answer myself as well. But regardless of the answer I give myself, be it good or bad, I deal with it, put it aside, and keep on going. Doubt is a natural stage in the development of any venture or project, and the trick is to think of it merely as a stage; as in a stage to get past to get to the next stage. Otherwise no one would ever accomplish anything or get anything done. Some doubt is well justified… a lot of it isn’t. In life sometimes we are our own worst enemy, and as architects we are definitely our own toughest critics. The only thing I would say to young architects reading this is, do not be too hard on yourselves, and never give in to doubt.
EA:Have you ever reinvented yourself, or made changes to your style or philosophy?
SE: No. I wouldn’t say I’ve changed my philosophy or even my style. The only thing that changes with each new project is the client. Their needs and tastes change as do their budgets. Architects do not like to talk about money or budget, but this really does impact the direction of a design.
EA:Negatively?
SE: No, not at all. Very often the projects where there is a low and very firm budget are the ones that breed the most interesting ideas. This is a bit of cliché, but nevertheless it is true.
EA: Would you say that you had a style?
SE: I do not have a style for “shapes,” but I have a style of working – an attitude. I suppose that if I have a style it would be the product of my understanding of space. For me, space cannot exist in isolation, at least not in the context of architecture. I only look at space and how it connects to time. Time is everything. Time can be the movement of the sun’s rays through the space, or can be the coming and going of people. When you are designing space, time is your most important parameter.
EA:I am not so sure whether what you said about having a style is entirely true… Looking at all your projects and their names (Rooftecture, Halftecture, Springtecture, Glowtecture, Bubbletecture, Looptecture, etc…), would it be fair to say that you have a “product line”?
SE: I see how one could understand that as a product line. The idea of these names and the projects they’re tied to stem from my belief that architecture as a word is limited. I proved this by taking a single component of architecture, like a roof say, and expanding it into an entire building.
EA: That sounds like another criticism… which makes me want to ask if any of these projects are in some way a bit satirical?
SE: I wouldn’t say that they were, no.
EA: How can you consolidate such sophisticated ideas on architecture with somewhat childish or at least innocent words like “bubble” and “loop,” along with buildings that embody those words so literally?
SE: Sometimes big and “sophisticated” concepts in architecture are best illustrated by the simplest forms. The famous Pop Artist Roy Lichtenstein used mundane and everyday objects in his art and turned them into icons. I seek to create my own icons, the bubble, the loop and the roof being just a few of them. To me they are not only underexploited, they hold almost infinite possibilities and are beautiful in their simplicity and purity. The very nature of your question exemplifies my criticisms quite well. You say “childish”; I say “playful.” There is no need, and no rule in our profession that says playfulness has no place in architecture. However, in my opinion, there is that implication and here lies the bulk of my gripe. Modernism is a form of Protestantism; a strict set of rules followed religiously by architects, professors and their students without sufficient criticism.
In 2014, Ebrahim Abdoh spent six months as an intern at Hiroshi Nakamura & NAP. In that time he conducted a number of interviews with the young architects that are forming the next generation of Japanese design leaders; his column, “Japan’s New Masters” presents edited versions of these interviews in order to shed light on the future of Japanese Architecture.
Collaborators: Álvaro Castellano Pulido (arquitect); Fernando Álvarez de Cienfuegos (Graphic Designer); Marta dell´Ovo (Student); Helena Doss (Student), Alessandro Remelli (Student), María Encarnación Sánchez Mingorance (Student
Builder: Jorge Calvo (Lauxa Carpinteros); Leonardo Cena (Metalistería); Grupo Innovahogar del Sur, S.L. (Vidrio); Miguel Segura S.L. (albañilería y trasdosado)
Promoter: CUAC Arquitectura y Fernando Álvarez de Cienfuegos
Technical Architecy: Miguel Ángel Jiménez Dengra
Cost: 21.000 Euros
Cost/M2: 143 Euros/m2
From the architect. Saint Jerome 17 is a workspace, an office that brings together concepts and materials displaced within a local situated in the historic center of Granada.
Marked by the presence of a strong structure made of brick walls 60 cm. wide and wooden floors from the late nineteenth century, this place is a palimpsest of successive interventions to which we adhere us with recycled elements: a series of shuttering wood pieces is used for the creation of a channeling-cabinet infrastructure for network cabling and storage of books or models; six wooden doors, some metal shutters and pieces of glass saved from its demolition with several metal profiles from the refurbishment of a house in Granada are assembled for the formation of new holes.
Even the plasterboard fragments left without starting by the previous tenant are connected and transformed into a new infrastructure for electricity and lighting. A 4×1 meters high door taken from our old studio is finally transferred as a cornerstone.
Saint Jerome 17 is a project born of opportunity, made of what we find in the place, with the movement of materials from previous works or even with the discovery of unexpected historic contiguities. It is possible to make visible this dynamic, as well as reveal their different strata, mapping and modeling each brick, her wounds, dignifying its heritage presence as part of a continuous history of overlapping elements that we incorporate both minimizing energy invested as our presence.
Dublin-based McCullough Mulvin Architects has released the plans for their first project outside of Ireland, a large-scale extension and modernization of Thapar University in Patiala, Punjab, India. Located in a fertile area, the project seeks to consider the University as a holistic landscape, “evoking and extending nature to form rocky heights and shaded valleys.”
The project consists of the construction of two main building groups: The Learning Center, which is approximately 60,000 square meters; and the Student Accommodation, which is approximately 30,000 square meters. These new facilities will be connected with existing ones by a covered and planted walkway, which allows students and staff to walk through campus in contact with nature, while screened from the weather.
Courtesy of McCullough Mulvin Architects
The Learning Center will be composed of three major red-stone-clad buildings: a Library, Computer Building, and Lecture Block, all of which come together into a sculptural formation visible from across campus. Each building within the Learning Center will feature rooftop gardens.
Student Accommodations will consist of seven “L” shaped towers that will contain 2,000 student rooms and common spaces. These towers will be linked by a podium that shields a reception center, gym, and dining spaces below. “Internally, spatially diverse common rooms are interlinked with double-height spaces to casually link student groups, and many bedrooms have screened balconies.”
The Museum of Modern Art (MoMA) in New York has acquired all 16 films produced by directors Ila Bêka and Louise Lemoine. Their films, collectively titled “Living Architectures,” focus on the unseen inhabitants of famous buildings –housekeepers, window washers, concierges and more – fighting the long standing stereotype that architectural criticism is the sole domain of the intellectual elite. The collection, which is less than 10 years old, has remained in the spotlight for its contemporary commentary on architecture.
French-Italian Duo Bêka & Lemoine. Image Courtesy of Bêka & Lemoine
The recent acquisition by MoMA represents “the culmination of a journey both characterized by much coherence and rich in formal trials,” state the filmmakers in a press release. Their playful, tongue-in-cheek style has made bounds in the contemporary relationship between architecture and cinema. Beginning with “Koolhaas Houselife” – a cult classic that follows housekeeper Guadalupe at the Maison Bordeaux by Rem Koolhaas – the duo has worked their way up since to a variety of scales and programs, exploring new ways of capturing the unique perspectives of each building. See their complete filmography and accompanying trailers below.
Concrete Loveis a film about the Böhm family. Shot at their residence in Cologne, Germany, and on location at their projects—both completed and under construction—around the world, the film’s Swiss director, Maurizius Staerkle-Drux, spent two years in close quarters recording scenes and conversations that offer a profound insight into the world of Pritzker Prize-winning architect Gottfried Böhm, the late Elisabeth Böhm, and their three sons.
Read on to be in with a chance of winning a copy of the film.
An elderly man sits at the head of the table, arms folded. He looks stern. A middle-aged man is presenting a model. “What you’re doing is not good,” says Gottfried. His son Paul Böhm looks up, sits down beside him, folds his arms too and replies: “but it’s how I want it.” Concrete Love is a calm, observational documentary about the Böhms, a German family of architects where work, private life and family are inextricably woven together. Gottfried is the son, grandson, husband and father of architects.
“A connection between my relatives in Cologne and the Böhm family meant that I already had a long-standing friendship with them before the film was even conceived,” recalls Staerkle-Drux. “In Gottfried Böhm I saw a formidable artist full of youthful curiosity – a contemporary in spirit, if you like, despite the (70-year) age difference between us.”
“Gottfried still works every day on construction projects with his sons—Stephan, Peter and Paul—who are also architects, operating their own offices from within the same family home.” From the very beginning of the process, Staerkle-Drux became deeply interested in the ways in which the Böhm family (almost) seamlessly meld their personal lives with that of their work.
For over two years Staerkle-Drux shot the film at the Böhms’ residence, designed by Domenikus Böhm, in Cologne. “I wanted to explore the personal stories that lie behind the façades of their buildings, and to show that these mighty constructions also express considerable emotion.” Concrete Love “documents the moment at which the family loses its emotional heart: Elisabeth who, as well as an architect, was also a wife and a mother – and their most important source of inspiration.” He didn’t expect that, following her passing aged 94, Gottfried would embark on a journey back to the significant buildings which marked milestones in his life. And he was there to capture it all in film.
Giveaway
ArchDaily readers have the opportunity to win one of three pre-release DVD copies of the film, courtesy of the team behind Concrete Love. To be in with a chance of winning, leave your name and contact address below. The giveaway will be open to enter between April 28 and May 5, 2016.
Structural Engineer: Eckersley O’Callaghan Local Structural Engineer: Marcussen and Cocksedge
Services Engineer: DSA Engineers Ltd
Local Services Engineer: Lage Consultants
Lighting Consultant: BDP Lighting
Quantity Surveyor: Matrix Quantity Surveyors
Contractor: Elevate
Budget: £1.2m
Sforza Seilern Architects, an artistic collaboration between Studio Seilern Architects and Muzia Sforza, completed their first African project: a house on a rock. The 1’500sm building is situated atop a granite rock overlooking a large man-made dam, or reservoir for the extensive surrounding farmland. The area is, to say the least, breathtaking and awe-inspiring, and deserved a piece of architecture that is equally awe-inspiring.
The views and the drama of the granite cliff plunging into the dam were the inspiration for the concept, where oversized cantilevered roofs and extensive terraces frame the views and shelter from the vertical African sun.
The house consists of three basic elements
– Two granite blocks, enclosing bedrooms and support spaces, anchor the building into the rock, and become part of the surrounding topography.
– An oversized timber platform and a cantilevering roof frame the exterior spaces and the panoramic views. These are designed to focus the eye to the horizon, while creating shaded exterior spaces for living and dining areas.
– Finally two glass boxes span between the deck and roof, and the natural granite topography. These enclose the winter living areas at the upper level and the master bedroom suite at the lower level. They are transparent enclosures that again emphasise the views and the feeling of living within the surrounding landscape. A small horizon pool at the lower level visually integrates the dam reservoir with the lower levels of the house.
All elements are orientated in such a manner as to create physical adjacencies and visual privacy where required.
The cantilevers roofs and stretched terraces give the house the appearance of being gently floating above the rock. The roofs protect the floor-to-ceiling glass from direct sun radiation.
The project had to deal with issues of hyper-inflation and lack of available material. All materials were sourced locally, except for specialist items such as the glass and the roof waterproofing. The granite used to clad the two anchor blocks were the ‘crusts’ cut-off that came from the granite excavation. The dynamite drill holes are still apparent and tie the building to the area of excavation. Using the granite from the site also insured that the building blended harmoniously with its surroundings.
Inspired by the rich local culture of basket weaving, a garage cover was devised using different sized rebars and weaved to form a sun-shading canopy over cars. This canoly is supported by simple I-beams on one side and anchored to a large existing bioulder on the other side. Climbing flowering creepers are envisioned to cover the whole canopy, softening greening the steel weave. The owner being a musician required a place to retire and compose/record her music. Again taking inspiration in the natural granite cliff overhanging the house, we decided to hand a granite cube in the middle of the dense green jungle at the base of the cliff. Strategically placed windows, creating corners and band cuts into the granite cube offer dramatic views of the cliff and the jungle below.
Sig Nordal 