Zaha Hadid’s prolific, admired, and influential body of work led to hundreds of invitations to lecture around the world. Through her contemporaries’ heartfelt introductions, we can appreciate her groundbreaking architectural approach in a world which often appeared to be one step behind her ideas and enthusiasm.
The curators of the Spanish Pavilion have revealed the selected material which will be exhibited at the 2016 Venice Biennale. The content is a response to Alejandro Aravena’s thematic directive for the Biennale, entitled “Reporting from the Front,” in which he invites each country to share experiences and moments of crisis that architecture has experienced in recent years.
Under the title “Unfinished,” the projects selected by Iñaqui Carnicero and Carlos Quintans reveal the architects’ response to the economic and construction crisis in Spain over recent years, through virtues that can either become strategies or creative speculations, capable of “subverting the past condition into a positive contemporary action.”
The exhibition is divided into four areas dealing with the pavilion’s theme: seven photographic series, 55 selected works, twelve selected entries from the open competition, and ten interviews will provide the graphic and intellectual content. Each area will generate synergies with each other, while the whole exhibition revolves around the central space which will be capable of being transformed in order to accommodate different activities.
The photographic series shape the common imaginary of the result of the constructions enterprise in Spain some years back. Located in the central space, the photographs show the reality and the result of what once was the largest ‘edificatory’ enterprise in Spanish history. The 7 photograph series will make the visitor reflect about the outcome of this construction frenzy and the relationship it had with the financial crisis.
7 PHOTOGRAPH SERIES
1. “Arquitectura y resistencia” / Author: Nicolás Combarro.
2. “Spanish Dream” / Author: Cadelas verdes.
3. “Standstill Architecture” / Author: Iñaki Bergera.
4. “Landscapes under 30: Transitional Space” / Author: Miguel Fernández Galiano.
5. “Landscape Under Construction” / Author: Alfonso Batalla.
6. “Re-edificatoria” / Author: Adrià Goula.
7. “Nación rotonda” / Author: Miguel Álvarez, Esteban García, Guillermo Trapiello, Rafael Trapiello.
The side rooms will be used to exhibit the 55 selected works out of a total of 550 submissions. These projects do not deal with neither scale nor with their situation but with the strategies which architects put into play as a response to the built environment as explained before. Far from being a style, the exhibition confirms that this processes and methods have resulted in new architectures which have been able to adapt to new economic, social and environmental demands. These projects are catalogued into the following categories:
CONSOLIDATE, REAPPROPRIATION, INFILL, ADAPTABLE, REASSIGNMENTS, NAKED, GUIDES, PERCHING, PAVEMENTS.
55 SELECTED WORKS
CONSOLIDATE
01- CONS-01 CONVENTO DE SANTA MARÍA DE LOS REYES
Arquitectos: MGM Morales de Giles Arquitectos
02- CONS-02 RE-HABITAR
Autores: Profesores y alumnos de la escuela de arquitectura de Toledo, Universidad de Castilla La Mancha
03- CONS- 03 RESTAURACIÓN DE LA ANTIGUA IGLESIA DE CORBERA D’EBRE
Arquitectos: Ferran Vizoso, Núria Bordas, Jordi Garriga, David Garcia
04- CONS- 04 CASA INTERMEDIA
Autor: Carmen Moreno Álvarez, arquitecto
REAPROPIATION
05- RE-01 FÁBRICA AZUCARERA DE SAN ISIDRO
Autor: Juan Domingo Santos
06- RE-02 ESPACIO DE ARTE CONTEMPORÁNEO
Arquitectos: Sol 89. María González y Juanjo López de la Cruz
07- RE-03 ESPACIO BARBERÍ, EN OLOT
Arquitectos: RCR Arquitectes
08- RE-04 DEPÓSITO DEL REI MARTÍ
Arquitectos: ARCHIKUBIK (Marc Chalamanch, Miquel Lacasta, Carmen Santana) – Enllaç arquitectònic Arc-Roig) –
09- RE-05 OLIVA ARTÉS
Arquitecto: Jordi Badia (BAAS)
10- RE-06 CASA COLLAGE EN EL CASCO ANTIGUO DE GIRONA
Autores: Bosch.Capdeferro arquitectures. Elisabet Capdeferro Pla, Ramon Bosch Pagès
11- RE-07 CASA DEL CONDESTABLE
Arquitectos: Fernando Tabuenca y Jesús Leache
12- RE-08 CENTRO CULTURAL CASAL BALAGUER
Autores: Flores & Prats, Barcelona + Duch – Pizá, Palma.
13- RE-09 MUSEO DE LAS PEREGRINACIONES
Arquitecto: Manuel Gallego Jorreto
14-RE-10 ESCUELA DE ARQUITECTURA EN GRANADA
Autor: Víctor López Cotelo
ADAPTABLE
15-AD- 01 CINE LIDIA
Arquitectos: Núria Salvadó y David Tapias
16-AD-02 CASA LUZ
Arquitectos: ARQUITECTURA-G (Jonathan Arna¬bat, Jordi Ayala-Bril, Aitor Fuentes, Igor Urdampilleta)
17-AD-03 ESPAI NOU A CASA NOVA
Arquitectos: Toni Gelabert Amengual, Néstor Montenegro Mateos (EXTUDIO)
18-AD-04 ALL I OWN HOUSE
Autor: PKMN architectures [www.pkmn.es]
19-AD-05 SUSALOON
Arquitectos: Uriel Fogué + Eva Gil + Carlos Palacios
20-AD-06 CASA DENTRO DE UNA CASA
Arquitecto: Josep Ferrando
21-AD-07 SAN JERÓNIMO 17
Arquitectos: CUAC Arquitectura .Javier Castellano Pulido, Tomás García Píriz.
22-AD-08 FACTORÍA CULTURAL EN MATADERO MADRID
Autor: Angel Borrego Cubero
23-AD-09 REFORMA Y ADECUACIÓN DE VIVIENDA – ESTUDIO
Autores: Maio: Guillermo López Ibáñez, Anna Puigjaner barberá
24-AD-10 ESTUDIO EN LA C/LACY
Autores: Sauquet Arquitectes i Associats, slp.
25-AD-11 GALERÍA DE ARTE CONTEMPORÁNEO CARRERAS-MÚGICA
Autor: estudioHerreros
INFILL
26-INF- 01 CASA EN TEBRA, PONTEVEDRA
Arquitectos: Guadalupe Piñera Manso y Jesus Irisarri Castro
27-INF-02 ATRIO.
Arquitectos: Luis Moreno Mansilla. Emilio Tuñón Álvarez
28-INF-03 SEDE DE LA DENOMINACIÓN DE ORIGEN RIBERA DEL DUERO
Autores: BAROZZI / VEIGA Fabrizio Barozzi y Alberto Veiga
29-INF-04 DOS VIVIENDAS EN OROPESA
Arquitectos: Ángela García de Paredes. Ignacio Pedrosa
30-INF-05 MUSEO DE BELLAS ARTES DE ASTURIAS
Arquitecto: Francisco Mangado.
31-INF-06 EDIFICIO PERIMETRAL Y ADECUACIÓN DEL ENTORNO DEL TEMPLO ROMANO DE DIANA
Arquitecto: José María Sánchez García
NAKED
32-NAKED-01 CASA OE
Autor: Fake Industries Architectural Agonism (Cristina Goberna, Urtzi Grau) + aixopluc (David Tapias)
33-NAKED-02 PABELLÓN DE SAN LUCAS
Arquitectos: FRPO Rodriguez & Oriol Arquitectos (Pablo Oriol, Fernando Rodríguez)
34-NAKED-03 PISCINA EN MACEDA
AutoreS: trespes.arquitectos: Alberte Pérez Rodríguez, Carlos Mosquera del Palacio, Enrique Iglesias Lima
35-NAKED-04 ESCUELA EN LA MILAGROSA
Arquitectos: Pereda Pérez Arquitectos. Carlos Pereda Iglesias y Óscar Pérez Silanes
36-NAKED-04 PUNTO DE INFORMACIÓN DE GLORIES
Autor: peris+toral.arquitectes : Marta Peris Eugenio , José Manuel Toral , Izaskun González
PERCHING
37-PERCHING-01 CASA LUDE
Arquitectos: Grupo Aranea (Francisco Leiva Ivorra, Martín López Robles)
38-PERCHING-02 PABELLÓN DE VIVIENDA EXISTENTE
Arquitectos: FLEXO ARQUITECTURA SLP (Aixa del rey garcía / Tomeu ramis frontera/ Barbara vich arrom)
39-PERCHING-03 CYCLOPEAN HOUSE
Autor: ENSAMBLE STUDIO, Antón García-Abril & Debora Mesa
40-PERCHING-04 PIER 57 INTERIM PROJECT
Arquitectos: Jose María de Churtichaga + Cayetana de la Quadra-Salcedo
REASSIGNMENTS
41-REAS-01 HOUSE 1014 // CASA 1014
Arquitectos: HARQUITECTES (David Lorente, Josep Ricart, Xavier Ros, Roger Tudó)
42-REAS-02 MATADERO MADRID, NAVE 8B
Arquitecto: Arturo Franco
43-REAS-03 NUEVO ACCESO AL CENTRO HISTÓRICO DE GIRONELLA
Autor: Carles Enrich arquitectura + urbanismo
44-REAS-04 CEMENTERIO DEL GRAO
Arquitecto: Inés García Clariana
45-REAS-05 CAN JORDI I N´ÀFRICA
Arquitectos: TEd’A arquitectes (Jaume Mayol, Irene Pérez)
46-REAS-06 CASA EN GAÜSES
Arquitectos: Anna & Eugeni Bach
47-REAS-07 HÁBITAT ALMACÉN
Arquitectos:Ferran Grau Valldosera, Nicola Regusci , Xavier Bustos Serrat
48-REAS-08 AUZO FACTORY IRAZÁBAL-MATIKO
Arquitectos: Suárez Santas Arquitectos. Asier Santas Torres y Luis Suárez Mansilla
GUIDES
49-GUIDES-01 3X1 / 3 CENTROS MUNICIPALES DE SALUD EN MADRID.
Arquitectos: Entresitio. María Hurtado de Mendoza Wahrolén. César Jiménez de Tejada Benavides José María Hurtado de Mendoza Wahrolén
50-GUIDES-02 80 VIVIENDAS EN SALOU
AUTOR: TONI GIRONÈS, arquitecto
51-GUIDES-02 57 VIVIENDAS EN EL CAMPUS DE LA ETSAV
DATAAE + H arquitectes
PAVEMENTS
52-PAV-01 REMODELACIÓN DEL PUERTO DE MALPICA
Arquitectos: CreuseCarrasco. Juan Creus Andrade / Covadonga Carrasco López
53-PAV-02 ENTORNO DEL MERCADO DEL BORN
Autores: Vora Arquitectura (Pere Buil y Toni Riba)
54-PAV-03 MIRADOR PEDRA DA RÁ
Arquitecto: Carlos Seoane
55-PAV-03 TURÓ DE LA ROVIRA
Autores: Jansana, de la Villa, de Paauw arquitectes SLP, AAUP Jordi Romero associats SLP
The architectural graphic display will finish with the exhibition of the results of the open compentiion held by the pavilion which aimed to search for unpublished projects which respond to the theme proposed. These proposals could be located in real situations or could also be developed in generic architectural situations that deal with the recognizable circumstances in the present juncture. Out of the 108 submissions the jury, composed by Iñaqui Carnicero and Carlos Quintáns as curators of the exhibitions and by the pavilion’s scientific committee (Santiago de Molina, Jacobo García-Germán and Ángel Martínez García-Posada) made a first selection of 20 projects. Out of these finalists, the jury chose 8 winners and 4 mentions that will not only be part of the exhibition but whose authors will explain their projects in public as part of the pavilion’s activities:
WINNERS
1. Arquinautas de la cosmopista
Authors: Víctor Manuel Cano Ciborro, Alejandro Burgueño Diaz, José Manuel de Andrés Moncayo, Ana Sabugo Sierra, José Javier Cullen Afonso y Rocío Romero Rivas
2. Bisagras
Authors: Diego Lucio Barral y Sarai Cancela Cundíns
3. El cuento de la arquitectura y los refugiados
Authors: OOIIO, Joaquín Millán Villamuelas
4. El patio tras el incendio
Authors: Juan Antonio Serrano García y Paloma Baquero Masats
5. Intervención en una ruina de la Alhambra
Author: Alejandro Infantes Pérez
6. La cadena de cristal
Authors: Jesús Vasallo, Andrea Gimeno, Lluís Juan Liñán, Josep Vicent Lluch, Mayte Gómez, Marta Jarabo, Sálvora Feliz, Ángel Gallego, José Mato, Patricia Ocaña, Beatriz Martínez, Quique Bayarri, Felipe Reyno y Tomás Pineda
7. La ruta más astuta
Authors: Leire Calvillo Mendoza y Ramón Cuesta González de la Aleja
8. Recycling Almar
Authors: Juan Moreno Romero, Siddartha Rodrigo Clua y Francesco Miele
MENTIONS
1. Ecotechnohub
Authors: Diego García Setién y Silvia Sánchez González
2. Paisajes en Ruina. Ruina Moderna
Author: Gádor Potenciano Enciso
3. Tipologías desplazadas
Author: Pablo Blazquez Jesús
4. United Territories of Failand
Authors: Lucía Andreu Gómez, Ramón Cuesta González-De la Aleja y Clara González Fernández
Last, but not least, in the last space of the pavilion behind the central space and between the side spaces, a continuous projection will show the interviews about ‘Unfinished’ as well as about Spanish architecture. These short interviews will share with the visitor thoughts and reflections from the following renowned personalities:
AMALE ANDRAOS, Dean at Columbia University
KENNETH FRAMPTON Full Professor at Columbia University
SARAH WHITING, Dean at Rice University
ANDREA SIMITCH, Associate Professor at Cornell University
SOU FUJIMOTO
BARRY BERGDOL, Ex main curator MOMA
VAL WARKE, Associate Professor at Cornell University
JORGE SILVETTI, Full Professor at Harvard GSD
NADER TEHRANI, Dean of Cooper Union
MEIJEEN YOON, Chair MIT
Nevertheless, the exhibition is yet to be finished. The pavilion will also organize several activities which will take place during the time of the Biennale: lectures, workshops for students of architecture, colloquiums, discussions and presentations will be carried out within and outside of the pavilion.
From the architect. The commission focused on the rehabilitation of an old kiln that was part of a tannery, located on the grounds of current Belvis Park. It was to design a cultural facility with a very open program; the intervention sought to value a historic building providing multifunctional space for exhibitions, meetings, concert halls, film projections, etc. Also the toilets were to serve the park.
The intervention in Belvís park had incorporated the remains of several buildings and walls that lined gardens, roads, brooks, etc. as structuring elements. Historically, we found that originally the building and the lot north of it were an “isolated” unit, and that the level of the ground in this (northern) facade kept the outside of the ground floor wall exposed.
The original masonry walls were protected by a single pitch temporary roof, made of corrugated fiber cement plates. The adjacent lot to the north had been modified in order to solve the necessary circulation. The masonry enclosure continuing the south facade was partially demolished as well as the end of the north facade; both had been stabilized and capped with granite masonry. On the western edge the original closure had disappeared, and instead there was a brick wall. Large openings on the north facade, characteristic of this type of buildings for ventilation strategies, were also shuttered.
The proposal recovers the volume of the original gabled roof, supported on traces that marked the slabs at the edge of the front wall. The volume is not entirely rebuilt, thus emphasizing the character of the unfinished piece open to the park. For the floor heights we adopt the original access and the support traces of the floor structure.
We recover, in part, the original topography on the north facade to facilitate, now, the accessibility and livability of the building. The walled openings of this facade are occupied, in the new project, by wooden boxes projecting outwards. These are accessed from a platform installed as a lookout in the park. This arrangement allows a permeability that establishes a direct relationship of the building to the outside and suggests various possibilities of use.
In the western boundary we discard the option to rebuild or complete the granite construction. A wood and glass enclosure houses the staircase, a large glass void upstairs and ground floor access. These elements are arranged in different planes maintaining the feeling of unfinished construction and emphasizing its permeability and directionality.
Inside, the different types of wood, along with the ceiling absorbent panels and wood boxes are presented under an order that responds to its dimensions and the serial character of the building.
The layout of the stairs in plan, closed in the first flight and the design of the intermediate structure that solves the thermal and acoustic insulation, facilitate the possibility of both levels functioning independently.
The horizontal structure is designed with pieces of wood supported on existing walls that on the north facade are braced by metal elements. Both on the floor and roof we seek a single structural modulated order along the entire surface. For the roof we have chosen a row structure resting on wooden stirrups secured with metallic elements. For the floor we designed a mixed structure of wood and concrete, so that we get sufficient rigidity considering the overload corresponding to a public assembly building. Also in both cases, we have chosen to place a lower wood board with rock wool insulating the space between the ceiling and the upper board. With this solution, in addition to solving the thermal and acoustic insulation, we solve the required levels of fire protection.
From the architect. The house designed in the historical center of Alcobaça is a record of overlapping times: A small building reconstructed to perpetuate the vernacular common scale, and a wall thoroughly shaped to house the quiet extension.
On the existing building a void is created managing the thickness of the peripheral walls. An absence of space is freed collecting luminosity from a skylight that grants a private and protected atmosphere. The compartments appear as internal additions, connected to the exterior through reinterpreted windows in the façades, but proposing an unexpected internal space.
The extension of the house takes the difference between two levels: The street level and the garden that is generated with the river Baça. The form of the new wall defines courtyards that mediate the contemplation to the exterior. The social areas, work as a spatial continuum that spread through the two times of the intervention.
From the architect. How do you enlarge a farmhouse that has low eaves on three sides and one high side with barn doors? Typical North-Holland farmhouses, the ‘Stolp’, have a clear, strong shape. A modern extension easily demystifies this characteristic.
The traditional Stolp has a core, the ‘square’ comprising a hayloft over the full height. Around it are the living quarters of the farmer and the barn which is in open communication with the square. Hay and house enjoy the warmth of the cows.
The new extension ‘skews’ the slanted roof up from the square and protrudes over the old brick facades. On two sides this creates a zone of 5 to 7 meters wide where the new living room, kitchen and two bedrooms are located.
The old Stolp contains the other bedrooms, study and all service areas.The living room, with a sloping concrete floor down to polder level, has 32 meters length of panoramic views over the beautiful Wormer and Jisperveld while the rooms in the existing dome have a more introversive, oak interior.
The old and mostly rotten, boards on the east facade were replaced by a single ‘patchwork’ of different kinds of treated wood according to Japanese Shou Sugi Ban technique, created by ‘Zwarthout’.
From the architect. This plywood pavilion was designed and built for the 2015 Science and Engineering Festival at Waseda University. As it was to be built in the campus’ central courtyard and displayed to the public, it was imperative that the design not impede the flow of pedestrians. Tight limits to the available budget and manpower necessitated that the design make efficient use of materials and allow for quick assembly. Furthermore, the design was to embody the festival’s annual theme: “Spread Out! The Ring of Science and Engineering”. The design we arrived upon managed to meet these requirements, in the form of a grid of plywood panels in the shape of a cubic volume with the four sides spherically hollowed out.
The design process made full use of 3D CAD. This enabled us to work out the design down to the fine details, simulate the process of assembly, and quickly reflect any design improvements to be shared with the rest of the team. On the other hand, the actual fabrication was done the old-fashioned way: by hand using paper stencils and jigsaws.
While the completed pavilion was on display to the public for a mere two days, it received an overwhelmingly possitive response. Visitors would gleefully wander in and about the structure, snapping photos from various angles. They also made good use of the similarly designed tables and stools strewn about. The dappled shadows cast as sunlight fell through the grid brings to mind light filtering through tree leaves, while the rhythmic pattern of consecutive rings gave visitors a peculiar uplifting feeling. All in all, the project was a tremendous success, and became a great experience for everybody involved.
From the architect. Starting a new day with a cup of coffee in small house, it is a habit that never give up every morning of young couple.
The first morning coffee, they talk about their life, work, children, the hard time for beginning their career in a narrow house, their hobbies and love nature of every member in their family.
The second morning coffee, they talk about the land that they will be built for their new house. The land is located in the center market in the city, it operates from early morning till late at night.
The third morning coffee, they talk about their house in the future, they like taking care of birds and fishes, their kids like keeping some lovely dogs, the wife likes cooking and making flowers vase, they love gardens, vegetables and plants. They hope to have a quite place near by the noise market. They don’t need any special things, they just hope every material for building is the most popular, the simplest for building up and the cost is as cheap as possible.
Some later morning coffees , we still keep our habits . And then we talk again about space, material, detail…
Six months later, we drink morning coffee together again at the house which they talked. We don’t try to make anything special in this space, we just try to give all family members live closely with nature as much as possible between noise city. To the nature speak out by Koi carp lake, garden, plants, birds singing, naughty pets, natural light and shadow, windy, the sea breathe…
This album has been performed after the project was used for about over 18 months.
This is an interior design for a hair salon in Osaka, Japan. The interior design was by Reiichi Ikeda of reiichi ikeda design, and the graphic design including the logo design was by Yuma Harada of UMA/design farm.
The two companies shared the concept with each other, and comprehensively directed the hair salon together. Generally, a hair salon has a conventional traffic line of waiting, shampooing, cutting, and so on.
To specially add the uniqueness as a spice, I dotted with some visually standardized box-shaped objects such as furniture and a spot that have roles. The angle of the diagonal lines which constitute the facade and the interior visual effects follows the concept of the logo “IRO”.
“O” in the logo “IRO” is rotated 23.43 degrees to be parallel to the axis of the earth. Even though the Japanese word “IRO” means colors in English by ordinary, we considered it as what gives us the seasonal indications with the Sun instead of as being colorful. The light streaming through the diagonal lines and its shadows are shifted from season to season.
Additionally, the moire effect caused by the overlapping lines helps to bring out the visual movement in the design.
From the architect. The site is engrossed by nature and aspect, therefore the design competes by being bold, sharp and textural. This boldness and form is also an expression of the clients and their family expanding out of their current holiday house, a caravan.
A solid black box expands out of the ground from nothing into a duality of aspect and function, picking up more materials as it expands toward French Island and Western Port Bay. The top storey acts as a self-sufficient lookout for when it is in use by a single couple, while downstairs acts as a family extension, with focus placed on play around the pool, spa, barbeque deck and cinema. Upstairs is decadent in its finishes and complex plan while downstairs is laid out and finished more simplistically; there is a play off between warm rustic materials and contemporary decadence.
The design aims to be bunkered down and of the site, then grow, expand and lift from it. The views, planning setbacks, site orientation, prevailing winds and land fall all promoted an Easterly aspect; so we acted accordingly. We then went about making the most of the less than ideal solar orientation of the house by exposing the slab to the North, blocking the Westerly winds and sun, limiting openings to the South/street and controlling the morning sun.
The site specifics and clients brief presented a challenge for environmental design but we prevailed by including the following initiatives in the design.
The design has a highly efficient layout and a more complex aesthetic than the inhabitants might have expected. In both ways the design breaks from their current conventions and provides a new way of being. The clients constantly say they can’t wait to get back to the house; what more could a designer want?
Created for the 2016 Milan Design Week, MAD Architects’ “Invisible Borders” installation is part of the “Open Borders” exhibition curated by Italian magazine Interni. Taking place in the traditional Cortile d’Onore courtyard of Università degli Studi di Milano, the installation is a canopy made from ribbons of ETFE in gradient colors, which has a lightness and flexibility that allows it to rustle in the wind and generate a subtle whistling sound. According to MAD, “The installation reflects the hues of the sky during the day, leaving glimpses of the columns and loggias. In the evening it becomes a luminous surface that brings the courtyard to live with new colors.”
“Borders are usually seen as something closed and unapproachable but I think it’s interesting to make borders attractive, dynamic and engaging,” says founder and principal of MAD, Ma Yansong. “So we decided to play with the border between the historical loggias and the garden in front of it, and design a transition in-between them.”
MAD calls the installation a “sculptural gesture,” one “inserted to break the balance of the Cortile d’Onore and at the same time establish a new shelter…for people to engage in discussion or just contemplate the sky through the canopy.” Intent on creating a continuity between the installation and real-world flows like wind and water, Ma Yansong posits, “Our installation blurs the boundaries between the traditional and the contemporary. You see the difference in each end, but the transition is very organic. It’s like we open up a conversation between the past and the present.”
Design Team: Ma Yansong, Dang Qun, Yosuke Hayano, Andrea D’Antrassi, Hiroki Fujino
Engineering: Maco Technology srl, Roberto Maffei
Light Design: iGuzzini Illuminazione
Production: Ferrarelle
Material: P.A.T.I. ETFE Polymer
Dimensions: 31m * 16m * 14m
Photographs: Moreno Maggi
“Open Borders” is part of Milan Design Week and runs from April 12-23, 2016 in the historic courtyard of the Università degli Studi di Milano.
Sig Nordal 