Steven Holl Architects have revealed plans for a new library and campus design in Malawi, coinciding with the project’s approval by The Miracle for Africa Foundation. To be constructed of local stone, bamboo and concrete, the library will provide 66,000 square feet (6,132 square meters) of study and gathering space to the community.
Courtesy of Steven Holl Architects
The 66,000 sq. ft. library is organized via a section that provides maximum reflected light to the interior with optimum solar PV collection on the roofs
The library has been organized using a tiered section that will provide maximum reflected light to the free plan interior space, with meeting rooms and archives housed within glass, humidity-controlled enclosures. A rain collection pool in the center of the plan will direct visitors to the main circulation desk and bounce rippling reflections throughout the building in a “cloud-like light.”
Courtesy of Steven Holl Architects
Courtesy of Steven Holl Architects
The project’s signature element, the building’s curving, prefabricated Ductile concrete roof, will further bounce natural light through the space, creating what the architects call a “field within a field,” while PV panels on the rooftop will provide energy for the library. Around the building perimeter, local bamboo will be utilized to create a patterned screen to filter light and create a shaded arcade encircling the structure.
Courtesy of Steven Holl Architects
Courtesy of Steven Holl Architects
The library will be the first construction within a new campus masterplan, whose morphology draws inspirations from the paintings of a Malawi batik artist.
Courtesy of Steven Holl Architects
Ground Floor Plan. Image Courtesy of Steven Holl Architects
“There is great excitement about this project as an artistic masterpiece, and about the solar energy concept as it works with maximal light, ventilation, and humidity control, said the client, Mr. Y.K. Chung, chairman of the Miracle for Africa Foundation.
“I’m astonished at the consideration and interpretation of Malawian batik art, the reflective pool, waves in a field of light, and the philosophical axes of the campus. This project is historic, the library will be an iconic marker for a great moment in the architectural history of Malawi and for all of Africa; especially Malawi, which has been away from modern civilization for so long.”
Courtesy of Steven Holl Architects
Courtesy of Steven Holl Architects
Known as “The Warm Heart of Africa,” Malawi is one of the smaller countries on the African continent by area, containing a population of 16.7 million people. It is also among the world’s least developed countries, with a GDP per capita of only $381.40. The Miracle for Africa Foundation was founded to serve the people of Malawi and Africa by expanding healthcare, education, and agricultural opportunities. You can learn more about the Miracle for Africa Foundation, here.
From the architect. We designed a very simple, elegant and pure facade design. The project is an extension of a school, we hung the wooden project to the ancient.
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We worked with timber chestnut tree. We designed very special timbers related to the dimensions of our project. It is a a unique facade, «sur mesure».
Asymptote Architecture has revealed renderings of their design for a new Contemporary branch of the Hermitage Museum, to be located adjacent to a new residential district in the area of the former ZIL automotive plant in Moscow. Presented at the V Saint Petersburg International Cultural Forum by Asymptote Co-founder and Design Partner Hani Rashid, the museum will house a collection of contemporary art from 20th and 21st centuries.
“ZIL will turn into not just a new city district with residential and commercial real estate but will also have a museum as a center of attraction for the city residents,” said Sergey Kuznetsov, Chief Architect of Moscow.
The museum design has been separated chronologically – lower levels have been designated for art from the first half of the 20th century, while the raised-ceiling galleries on the upper floors will exhibit the contemporary collection. Public spaces will include a cafeteria, a gift shop/library, a cinema hall, a rooftop sculpture garden and a wood-clad amphitheater designed for public events.
“The Museum will be a place where in some cases you can exhibit really high sculptures or hang very unusual objects of art on the ceiling, if needed. You can do whatever you like here, it’s a space for an endless experiment with perspective,” explains Rashid.
“In the wing of contemporary art with the help of the curtain one can decorate and darken some parts of the hall. Museum curators will have vast spaces in the building.”
“We sought to create a constant up and down movement inside the galleries, one can easily get lost here, and it’s a great thing. We want to leave behind a standard paradigm of a museum where its architecture dictates certain scripts. Here the architecture is symbolic but it’s predetermined by museum functions,” the architect said.
The external envelope will consist of a double glazed, UV-resistant facade system, which will give the building a luminous, transparent aesthetic that will transform in different atmospheric conditions. Walls and transparencies have been arranged in a dynamic composition, and will be ornamented with an abstract design.
“People come to a museum to touch history, culture, that is why we thought it would be only right to saturate the Museum space with them. So it is a really wonderful idea that the cafeteria on the first floor will have an installation on Malevich’s Black Square. One can just come here for a cup of coffee, thus becoming a part of the city, a part of art,” Hani Rashid added.
The museum project is latest addition of the “Big Hermitage” project, which was seen the museum open new branches in cities worldwide, including Amsterdam, London, Barcelona, Kazan, Vyborg and Omsk.
“Each branch museum of the Hermitage has its own focus, and we decided that in Moscow it will be contemporary art of the 20th -21st centuries. The concept of this branch museum was developed together with Hani Rashid,” explained Mikhail Piotrovsky, Director of the State Hermitage Museum.
The Hermitage Modern Contemporary is expected to open to the public in 2020. Learn more about the design, and Asymptote’s residential tower in Moscow, here.
This large duplex apartment occupies the former attic of the building. It has been created through the conversion of old maid rooms and the above loft that was used for storage.
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Throughout the project the material palette is restrained: wood flooring, black MDF that is dyed in the mass for the fixed furniture, large sheets of thin ceramic in the bathrooms and kitchen top.
The organisation is simple: all rooms (bedrooms, bathrooms, office, family room) are located on the entrance level of the apartment, whereas the top floor is one open loftspace with kitchen, living and dining area.
Lower Floor
The entrance hall is a double ceiling height space with skylight that opens largely onto the family room. It is positioned att the heart of the apartment distributing on one side the master bedrooms and children bedrooms, and on the other guest bedroom and office space. Here, a black box consisting of dyed MDF panels and doors act as boundary concealing bedroom, bathroom and storage spaces.
The existing varnished pinewood flooring, that had become orange-yellow over time, has been kept and renovated. The pine boards have been treated in a scandinavian fashion with lye to block the pigments and prevent the wood from yellowing, then soaped for the finish. This gives the boards a pale-white, semi-mat aspect that is very soft to the touch.
The master bedroom is conceived as a little suite with walk-in wardrobe and adjoining bathroom. Natural light flows through an added large glazed panel in the roof while the existing small windows offer a view on the surrounding park. The bathroom flooring, walls and top are made of large mat marble ceramic tiles (3x1m), while the furniture is made of black dyed MDF.
The same black MDF material, being dyed in the mass and less prone to surface chipping compared to tainted or lacquered wood, is also used for the stairs. The railings are made of laminated glass.
The upper floor is organized with the kitchen on one side, a fireplace and living room on the other, dining area in the center. Only the chimney masonry from the lower floor apartments interrupts the open plan.
Upper Floor
The living room faces a large terrace that is partly sunken into the roof. The built in fireplace is flanked with concealed storage spaces and bar.
– Restrained material palette: wood for the flooring (either existing pine wood that was re-used with a Scandinavian soap treatment or lacquered oak in the upper area (kitchen))
Varnished Valchromat Black MDF Panels for all the fix furniture (wardrobe, kitchen, bathroom furniture) including the stairs
Laminam extra large thin ceramic tiles for all bathroom surfaces and kitchen island.
From the architect. The original house was built in the 1960s, in a style vaguely reminiscent of the cottage familiar to this part of Brussels. It is situated in an affluent and green residential neighbourhood in the outskirts of the city.
The former house was essentially a 2-story white brick building. It took advantage of the slope of the terrain to include a two-car garage in the basement. There was an exterior staircase leading to the main entrance on the first floor.
Strict building codes required that the geometry of the old building could not be changed, including its sloped roofs, its height and the materials it was originally built in. However, there were few regulations about “carving out” the ground or choosing the colour palette.
The intervention thus consists of renovating and extending the existing house:
I. Creating a “plinth” for the home: the ground floor of the house was extended enhancing the geometry of the building and giving the impression that it now sits on a plinth. This extension also offers a new exterior staircase linking the two levels of the garden and creating a passageway along the south façade. Finally, three niches are carved within the mass of the plinth: the garage, the office entrance, and the new main entrance.
II. Revisiting the interior: The new entrance to the home was brought down to the ground level, offering a direct and generous access for its occupants. It also completely liberated the first floor. Once inside, a new sculptural staircase carves its way up along the walls. Furthermore, the new living room is now 2 stories high.
III. Framing Nature: To give the impression of a monolithic structure, a dark coloured palette was used for the façade, the roof and the window frames. The interior walls of the home, seen as a “camera obscura”, are mainly painted white offering a perfect contrast to the outside world: the windows become framed moments of the surrounding natural landscape.
Product Description. To give an expansive view of the surroundings, very thin window frames are used. Furthermore, instead of using the traditional technique of placing the frames within the opening, they are placed on the exterior side. In certain cases, it thus seems that the frames disappear altogether.
Cement that can generate light? Concrete for building on Mars? Translucent wood? Biodegradable furniture? Pollution absorbing bricks? At first, it sounds crazy but these are only some of the research projects taking place around the world in order to take the construction industry to the next level.
Continue reading below for more information about the motivations behind these projects and how these “experiments” that have already begun large-scale testing are being carried out.
This cement generates its own light: As a response to new construction models, Dr. José Carlos Rubio Ávalos of the UMSNH of Morelia, has developed a cement with the capacity to absorb and irradiate light energy, in order to provide concrete with more functionality and versatility from an energy efficiency standpoint.
Peter Larsson / KHT
The world’s lightest anti-seismic reinforcement: The Japanese company Komatsu Seiren Fabric Laboratory has created a new thermoplastic carbon fiber called CABKOMA Strand Rod. The carbon fiber is covered with synthetic and inorganic fibers then coated with a thermoplastic resin. The new fiber, created by C Kengo Kuma, has been tested on the exterior of the company’s headquarters in Japan.
Hydroceramics are composed of hydrogel bubbles that are able to retain up to 400 times their volume in water. Image from Pensamento Verde
Will this be the concrete used to build on Mars? Assuming that when we finally colonize Mars, water will be one of our most valuable resources, the Northwestern University team sought an alternative to the usual concrete mix required to make concrete. They opted for a technology that has been in development since the early 1970s: sulfur-based concrete.
Terreform ONE biodegradable furniture: What if your chair was made out of compost? This is the question posed by this series of experiments with biologically produced benches that are grown rather than manufactured. Together, Terreform ONE and Genspace have developed two bioplastic chairs through similar processes: The first one, a chaise lounge, is formed from a series of white ribs in a parametric shape, with a cushioned top. The second, a children’s chair, consists of interlocking segments that can be used to twist the chair into different shapes.
Cigarette butts used to make more effective bricks: One man’s trash is another man’s building material. Researchers at the Royal Melbourne Institute of Technology (commonly known as RMIT University) have developed a technique for making bricks using cigarette butts. The team, led by Dr. Abbas Mohajerani, found that making clay bricks with 1 percent of their volume being cigarette butts could completely offset the annual worldwide production of cigarettes and at the same time make a lighter and more efficient brick.
Translucent wood, as new material developed by KTH: A group of researchers from KTH Royal Institute of Technology in Stockholm, has recently developed Optically Transparent Wood (TW), a new material that could greatly impact the way we create architectural projects. According to an article published in Biomacromolecules, the journal from the American Chemical Society, it is a process that chemically removes lignin from wood, causing it to become very white. The resulting porous substrate is impregnated with a transparent polymer, evening out both of their optical properties.
Courtesy of Cybersis.com
Walls that could replace air conditioning: The material is called Hydroceramics and it’s made up of hydrogel bubbles that are able to retain up to 400 times their volume in water. Thanks to this property, the spheres absorb liquid and on hot days their contents evaporate, reducing a space’s temperature.
Pollution absorbing bricks: Breathe Brick is designed to be part of a building’s normal ventilation system, with a double-layer brick facade with specialized bricks on the outside, complemented by an inner layer that provides standard insulation. The concept behind Breathe Brick is Cyclone Filtration, an idea taken from modern vacuum cleaners, which separates heavy contaminating particles from the air and drops them into a removable hopper at the base of the wall.
TU Delft developed a bioconcrete prototype, concrete that repairs itself: The formula developed by the TU Delft goes beyond repairing merely aesthetic damages, because if cracks in concrete grow, they allow water to pass through and corrode the reinforced steel. This not only compromises the mechanical qualities of the structure but also forces engineers to use larger amounts of reinforced steel in their calculations, increasing final production costs.
Hydroceramics are composed of hydrogel bubbles that are able to retain up to 400 times their volume in water. Image from Pensamento Verde
At just 42 years old, Makoto Tanijiri and the office he founded in 2000, Suppose Design Office, have emerged as one of Japan’s most prolific medium-sized architecture and design firms. However, Tanijiri’s path to success was somewhat different to the route taken by his contemporaries. In this interview, the latest in Ebrahim Abdoh’s series of “Japan’s New Masters,” Tanijiri discusses the role that education plays in a successful career and his work’s relation to the rest of Japanese architecture.
Ebrahim Abdoh:What was your earliest memory of wanting to be an architect?
Makoto Tanijiri: When I was about 5 years old. Of course at that age I did not know the word “architect” or “architecture,” all I remember was how small our house was, and all the things I didn’t like about it. Back then, my dream was to be a carpenter, so that I could build my own house and live on my own.
EA:With only two years in design school under your belt, you were able reach and surpass so many ‘fully qualified’ people in your field. Have you ever felt in any way lacking in terms of a formal education, or would you say instead that spending 6 years studying is unnecessary?
MT: This should be for everyone, as it was for me, a personal choice. I don’t think there is a clear right or wrong path when it comes to this profession. I personally felt very strongly about not needing to go to university. Many people will not have such strong convictions. And yes, I am successful, and although I accomplished everything myself and without the need for an architecture degree, I did get lucky.
EA:You are just 40 years old, and you are a multi award winning architect, with a hugely successful firm with 2 branches (Tokyo & Hiroshima), and dozens of projects under your belt, some of which are very large scale. When you are at a dinner or cocktail party with other friends or colleagues who are architects, or any other scenario where you are surrounded by other architects, do you feel in any way insecure for your unusual path to success?
MT: Honestly, yes. At the beginning of my career, I constantly had a sort of complex, because I didn’t have a degree, because I hadn’t been to university; it felt like shame. I felt as though I hadn’t earned the title of “architect,” and that I was lying by saying I was. It was a long time before I felt the awesome relief of pride.
MT: Fortunately, like most teenagers, I have dealt with insecurity before. I used to play basketball, and at quite a competitive level, and well… I wasn’t the tallest guy in the world. I was still a very good player, but my height made me very insecure. Later on, in my professional life, I looked back at that time had and what I did to overcome those feelings. It’s all the same.
EA:The most important thing is that you recognise yourself as an architect, however others may not still. Your firm is quickly becoming one of the most famous “new” outfits in Japan. Surely this has attracted some envy or resentment from your peers. Has anyone ever tried to diminish you for your less orthodox education?
MT: I have been in this industry for some time now and met many people. In this time I have observed two patterns, or two types of people. There are the “creators” and then there’s everyone else: the rest. The latter do refer to their education quite heavily in discussion, and this is also clear in their projects. They do not do it to discredit me; people in Japan are not like that. Education is supremely important to the Japanese, and this is taken to an even greater extreme in architecture. The “sempai/kohai” (master and student) relationship is central to most architects in Japan, which in a way makes me a bit of an orphan. I owe no-one that level of respect, I do not see it as my duty to carry on anyone else’s legacy, or apply their principles – I am free. If anyone were to envy me, I think it would be for this freedom I have, rather than for my success.
<a href='http://ift.tt/2gk3L4f Bus Stop</a>. Image Courtesy of Suppose Design Office
EA:Are the two linked?
MT: The two what?
EA:This special freedom you have and your success?
MT: No. Maybe. I don’t know. Most successful architects in Japan are in fact very educated individuals; they hold several masters from the best universities in Japan like Tokyo University and some even additional degrees from Ivy League universities in America like Harvard etc… I can only speak for myself, and all I can say is that I have no regrets, and that I love my work; that is real success. As for the success you are referring to, as in all my projects this could be for several reasons. I am actually ahead of the curve of a new trend, whereby it is not so “cool” to call yourself an architect. In Japan now, it is more fashionable now to say you are a designer, or craftsman, etc… So maybe this new trend has helped me.
MT: No, I believe quite strongly that I do not have any particular style.
EA:I can actually believe that. When I look through your all your projects it looks like three or four different firms or design companies.
MT: I see what you mean. I think having a clear design philosophy or a set of things you like or aspire to can be very helpful in the very early design stages to give you that initial direction but it can also trap you. You should never forego a better alternative for the sake of continuity or style.
EA:I have always said that there is a distinct “Japanese-ness” that many Japanese contemporary architects share; please pardon the expression – a sort of Japanese “je ne sais quoi.” And although I think a few of your projects possess that quality, some of them despite being very daring and cutting edge, have an additional dimension which is at once more traditionally Japanese, but also more gentle and demure, particularly in the interiors. What would you say to that?
MT: I have never tried to design in a Japanese way, at least not consciously; in fact it is something that I have even tried to hide. Yes in Japan our walls are almost always white and the spaces are bright – we favour light woods over dark ones and timber furniture over heavy upholstery. I believe exteriors should be striking and original; this is what makes Tokyo one of the most architecturally diverse cities in the world. Interiors should be more humane, gentler or at the very least more subtle. When I was born, my mother was still very young, so I was raised by my grandmother. From a very young age, I understood the importance of, and need for, quiet.
EA:When you look at a modern house in the West and one in Japan, what for you are the big differences?
MT: I would say size, but size is not a difference in architecture but a difference in parameters like a site constraint. It may be the cause behind a difference in the resulting architecture but not a difference itself. For me the main distinction between the West and Japan is layout. Our layout is smart, very clever. Japanese architects know how to make a small space appear much bigger than it is. We have been doing this for centuries. A good example is the shoji. Shoji screens are translucent, you cannot see through but the light still passes through which makes you imagine the space on the other side. This adds a lot of volume to the space you are in.
<a href='http://ift.tt/2gk1QN7 in Kiirenakamyo</a>. Image Courtesy of Suppose Design Office
EA:In Japan it is very common for architects to make spaces all white, or all concrete, everything one thing like a museum. In your projects however there is far more variation and even color which is not common in Japan. How do you explain this choice?
MT: These architects like Ito, Sanaa, Ando, Ishigami, or Fujimoto, etc… do spaces that are beyond beautiful; they are very moving and powerful. But I believe this is because they are a bit alien – not completely human spaces. I am not a collector of white spaces; I want my work to be enjoyed by human beings with different personalities, and each one calls for a different approach and a different palette.
EA:So far 2015, and especially 2014 have been very big years for you. In this short time you have completed so many large and varied projects, shops, restaurants, showrooms, interiors, houses, hotels, etc… You are one of the most prolific firms in Japan at the moment. What are you doing differently to get all this work?
MT: The last couple of years have been huge years for us. To give you an idea, in 2014 we were working on eighty projects and managed to complete thirty in just one year. The project management experience I acquired at that little known firm I went to after I finished my studies really taught me how to progress projects very quickly. I do not need to teach my staff how to design, but where I do instruct them is on time efficiency, so that they can move projects on as quickly and smoothly as possible. Timeliness is one of the most important things to clients. I think that is a big part of our recent success.
EA:In Japan most firms rely on line drawings and physical models. You however use 3D design and computing at a very high level. When did you first start using 3D tools and why?
MT: It all started with competitions. In order to compete in the international design competitions and have a fighting chance you need to bring your standard of presentation up the level of the other participants, which is very high. Models and line drawings are good but sometimes to sell your design you need to create an atmosphere, and that’s what 3D does. Also I my material palette is very varied, I can’t rely on my imagination to see if it works or not, so 3D is the thing that brings me closest to reality and allows me to try out various materials and details.
EA:Japan is one of if not the most technologically advanced country in the world with the biggest market share in the technology and electronics industry, yet its architects almost never use any of it. Why is that?
MT: I think you are absolutely right in asking. This has always seemed very strange to me. I think it goes back to the “master and student” relationship. The Japanese masters had enormous influence on their students. Not only did they teach their design principles but also how they designed, which back then was always models and line drawings. Many years later both the principles of design, working methods and distrust of computation have been passed on to their students and their students’ students. Once again, seeing as I did not attend an architecture faculty and did not have a master, I was free to implement to tools that I thought were best. I will say, however, the trend is quickly evolving and younger architects are finally starting to use more 3D and they are learning very quickly.
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.
Studio 304’s Sunken Bath project in Clapton, east London, adds a new kitchen, dining area, toilet and bathroom to a ground floor apartment within a terraced period property. Central to the brief was to separate the toilet and shower room in order to create a standalone bathroom that would facilitate ritual bathing.
The existing layout of the apartment was inefficient and had a poor relationship with the shared south-facing rear garden. In addition, the bathroom made the rear of the property feel gloomy and unwelcoming. Prior to work commencing, the client negotiated with the neighbouring property to split the shared garden creating two small private gardens to the south and east.
Floor Plan 01
Floor Plan 02
The functions of the new bathroom are separated and placed against the east facade, allowing each area to have a view of the garden and benefit from natural light. Outside, the east facade is partly clad with larch slats, to maximise the garden aspect while also ensuring privacy.
Incorporating a sunken bath, the glass- walled bath enclosure extends out into the garden, allowing light into the adjacent bedroom window. A slatted larch screen covers the bathroom’s glass roof, again ensuring privacy from neighbouring windows. Granite gravel, polished concrete and bamboo complete the garden, creating a concealed, peaceful space.
Inside, A copper worktop and wall surround in the kitchen are intended to give a sense of warmth to the living space. Larch slats charred using the ancient Japanese Shou Sugi Ban method are used to conceal the extract system and appliance storage space. Polished concrete flooring runs from inside to outside at the rear of the apartment creating a new relationship with the garden.
Originally built to house over 7,000 people in the 1970s, the Aylesbury Estate in South East London was once one of largest housing projects in Europe. In recent years it has “fallen into rapid decline” and, according to British filmmaker Joe Gilbert, “perfectly encapsulates the growing housing crisis and problems caused by gentrification.” With narration by Tom Dyckhoff, this short film aims to capture the reality of a housing utopia which has de-evolved into an uncomfortable reality.
From the architect. On the Morvan’s foothills and three steps away from the restaurant of Bernard Loiseau, the high school Francois Pompon named after the famous sculptor and town’s native, occupies a strategic position at the entrance of Saulieu (in Burgundy).
Alongside the road N7, it marks the way in to the town’s historic heart.
This new wing in the form of a prow opens up to the outdoors and adds to a previously L-shaped building, which is now U-shaped. This way it creates a closed courtyard, reproducing the style of Jules Ferry’s Republican schools.
Ground Floor
This unexpected shape represents partly the wish to follow the limitation of the curved piece of land and partly follows the rules defined by the Department of Architecture and Heritage, which is a building with two roof sections.
The combination of these two conditions led to define the very special and remarkable geometry.
The rooms occupying this part of the building are used for art and music classes. Their less conventional teaching benefits from this astonishing situation.
The new building’s ground floor is made of a raw concrete base and both floors have a wooden frame. The wooden structure of the KERTO type (post & beam structures and flooring) makes it possible to cross the 12-meter thick building with a single span and therefore completely releases the plates of bearing points.
The high school provides a place for learning and knowledge sharing in which students evolve; they will develop their culture and connection with the space.
Our recurrent approach as an agency is to express the structure as the fundamental basis of architecture. In Saulieu, the wooden structure defines the whole space; it is visible and its regular composition gives sequencing to the front of the construction which shows the institutional nature of the building. It isn’t a domestic building. It is a public and republican institution that not only conveys the universality of knowledge but also the regional culture through local architecture and construction processes.
Our motto for this project was “sound mind in a sound body”. For children to learn in a peaceful environment, they must be in a “healthy” building, in a sound mind and healthy body. Opening this building only a few days ago, it seems that students and teachers appreciate the peacefulness, the brightness and light that prevails.
We hope that everyone finds learning to be a cheerful experience and that students keep happy memories of their time in high school.
Product Description.This project has a double-structure : the basement of the ground floor is realized in poured-in-place concrete while the two upper floors are made of lamibois structure (pole and floor) and a lamibois frame. This choice of structure correspond with a construction strategy. The wooden structure allows a much faster realization than the masonry.
On the facade, the wood is left untreated in order to hold a silver patina for the Douglas wood poles, the Douglas wood claddings, the Larch wood exterior joineries (Larch) and the Oregon pine rolling shutters. The construction work have been carried out by local companies (10 to 20 workers).
Sig Nordal 