ODILE DECQWINKA DUBBELDAM ZAHA HADIDEVA JIRICNACARME PINOSRENATA SEMIN BENEDETTATAGLIABUEELISABETTA TERRAGNI

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Building & Construction SupportArcelorMittal has set up a team of professionals dedicated to the construction market: BCS (Building & Construction Support). This team supports developers, architects, engineers and contractors throughout their projects from design to completion. In a market where the decision-making chain is a long one, BCS is the link between the steel industry and the construction industry professionals.

www.constructalia.com

transforming tomorrow

Poland and Central EuropeWFC, Emilii Plater 53 (17th oor)PL-00-113 WarsawTel. +48 22 540 71 90Fax +48 22 540 71 91biurobcs.polska@arcelormittal.com

Spain and Portugalc/ Albacete 3 E - 28027 MadridTel. +34 91 596 95 77Fax +34 915 96 95 85bcs.spain@arcelormittal.com

Overseas Operations5 Rue Luigi CherubiniF - 93210 La Plaine Saint-Denis CedexTel. +33 1 71 92 16 97Fax +33 1 71 92 24 97arcelormittal.bcs@arcelormittal.com

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France5 Rue Luigi CherubiniF - 93210 La Plaine Saint-Denis CedexTel. +33 1 71 92 16 97Fax +33 1 71 92 24 97assistance@constructalia.com

Germany, Austria and SwitzerlandHarkortstr.21 D-40880 Ratingen Tel +49 2102 928 251 Fax +49 2102 928 260 bcs.germany@arcelormittal.com

ItalyVia San Clemente 1 I - 20122 MilanoTel. +39 02 72 73 09 11Fax +39 02 72 73 09 12bcs.italy@arcelormittal.com

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Head of ce24-26 boulevard d’Avranches L-1160 LuxembourgTel. +352 47 92 22 33Fax +352 47 92 25 02assistance@constructalia.com

Benelux and Great BritainChaussée de Zellik / Zelliksesteenweg 12B - 1082 Brussels-Sint Agatha BerchemTel. +32 2 509 15 52Fax +32 2 513 95 05assistance@constructalia.com

BrazilAlameda Santos, 700 - 14 andar01418-100 São Paulo - SP - BrazilTel. +55 11 36 38 68 67Fax +55 11 3638 6802bcs.brasil@arcelormittal.com

Cover photo:“Opus” Office TowerDubai, UAEZaha HadidCourtesy Zaha Hadid Architects

REFLECTIONS ON “TRANSFORMING TOMORROW”

WOMEN, STEEL AND ARCHITECTURE

The world saved by women? The Plan and Andrea Pontiggia stop short of this in their volume fully dedicated to women architects - intellectual provoca-tion though it is; nor do they posit any redeeming function by female creativi-ty against the Italian (not only Italian) backdrop crying out for a transfusion of architectural competence, of whatever gender. But it is a pleasing thought that the female contribution, no less creative than men’s but perhaps borne on a different sensibility and sense of politics (more service than power), might here bring forth the true value of architecture. In its broadest sense that means competence drawing support from creativity and creativity fed chiefly by competence - two inseparable ingredients alike needed if we are to attain the desired result: enhancement of our urban warp and woof by conservative renovation of past beauty and, above all, qualified invention of something new.An old commonplace - old but still relevant - describes Italy as a disfigured country gutted by surveyors. That category may include shining examples of professionalism and public spirit, but it here stands for all that is ugly, defac-ing our towns and, probably more important, our countryside. In the light of such stereotypes it becomes highly symbolic that the international archi-tecture congress is taking place in Turin: never before have so many Italian towns - Milan, of course, but also Rome, Naples, Turin itself, Bologna, Genoa and many others - been on the receiving end of ongoing renovation plans that have the potential to upgrade the whole townscape.It is essential we seize this opportunity for the enormous social, even more than economic, promise it holds.For that to happen the planning must adhere to the strictest canons of archi-tecture (as both science and art). Best practices demand that we proceed by international competitions, that every operation be thrown open to the broadest resources of the profession. The important thing is that - amid the inevitable aesthetic controversy surrounding any project - the results should be inspired by architectural quality; that we should avoid complacent short-cuts, half-measures or makeshift solutions. Unfortunately that is not always or everywhere guaranteed. There have been many warning signs of a return to old methods, the deplorable subordination of quality to misguided “raison d’état” - often not even making economic sense. Though not alone of its kind, the example of the new Milan Fair at Rho-Pero - designed by Massimiliano Fuksas - confirms authoritatively that such a doughty work of international import must draw on ‘different’ expertise from what tends to be offered by the otherwise excellent building scene in Milan, or the rest of Italy. A transfusion of know-how from respectful, broad-ranging, aware employ-ment of our professional architect resources.With all the civil, and of course aesthetic, ambition that such an approach entails.Milan, with the wealth of projects surrounding Expo 2015, will be Italy’s first and foremost testing ground for the new approach. What we must ensure is a new method of managing the major works of town development, on the part of local authorities, central state authorities, and of course private enterprise. The contribution of leading worldwide women stars of architecture could be of enormous help in ushering in such a new method. May it prove so. It will be the crowning achievement of this editorial venture.

Sergio LucianoEditor in Chief, Economy*

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* Economy represents today the most important weekly economic magazine in Italy

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For some years now the “female factor” has been a central feature of our society and politics. No government or parliament, at least in Europe, can ignore the question of internal balance between men and women. The same goes for industry and all walks of life, including the armed forces, once a purely male preserve. When Mike Nichols directed the film “Career Woman” in 1988 - one of the great Harrison Ford parts - and catapulted Melanie Griffith to the Olympus of Hollywood, the context was a different one and the film far from obvious. It was entertainment, of course, but committed enough on women and women’s careers. One smiles to watch it now: our society has moved on and the fact that Griffith goes from humble secretary to manager is no longer anything out of the ordinary. “The devil dresses Prada” (to stay with the cinema) directed by David Frankel in 2006, and starring an extraordinary Meryl Streep, tells of a change of equilibrium taken to extremes: women in power, men virtually eclipsed. There are many famous examples, from German chancellor Angela Merkel, head of a historically chauvinist country, to our own Emma Marcegaglia, a welcome breath of fresh air as neo-President of Italian entrepreneurs. The world of architecture is no stranger to such developments in our civilization and many architects of world calibre are women. This prompted the idea (hatched in liaison with creative journalist Andrea Pontiggia who devised the questions) of giving women the floor in an unu-sual and in some respects provocative interview going beyond the classic subjects of architecture to touch on the more intimate aspects of an architect’s ego.The questions aim not so much to probe as to open up points for discussion, instant viewpoints for free-wheeling development. We hope to provide an open spread of impressions, together forming a broad, if not complete, body of opinion. That is also why the idea prompting the layout of the pocket edition of The Plan was simply to pool the answers and not collect the interviews one by one. Each question is followed by the answer or reaction of each architect. The whole picture is more complete than an individual approach; it forms a transversal critique. The women architects enlisted were chosen on reputation, but also to extend the geographical panorama as wide as possible, with room alongside the big stars for lesser known talents of future renown. The mix of countries, cultures, genera-tions and widely divergent approaches to the world of architecture gives food for thought about the reality of being an architect and woman in full career amid today’s world of work - a revealing glimpse of what our society is really like.Being in the vanguard of contemporary architecture means creating, experimenting and research-ing. The worlds of design, art, graphics and fashion interweave more and more with architecture, while innovations in materials and technology are opening up new and possibly endless scope for creativity. That is one more reason why an architect’s job nowadays is inseparable from industry and manufacturing. In order to innovate at this point in time, an architect must be backed by the compa-nies that produce the materials or building systems. This makes ArcelorMittal doubly welcome as the sponsor of our publishing venture. Side by side with answers from nine women architects, we have a tenth ‘voice-over’: a world leader in steel manufacturing presenting its products as a credible and real response to important demands. Steel is a never-ending source of amazement with incredible potential for structural projects or avant-garde roofing and cladding.Another welcome partnership of minds is with Economy, “hosting” The Plan as in 2007, and thereby recognizing architecture as a major turbine of the economy. Architecture means production, culture, tourism; it comes to mean urban renaissance. Enjoy!

Nicola Leonardi Editor in Chief, The Plan

THE PLAN, issued bimonthly, is one of the most authoritative international architecture journals. Available in quality bookstores and newsstands

www.theplan.it

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An aspiration to lightness and elegance sums up the creative vision of our contemporary urban architecture. Slimmed down structures, see-through surfaces, complex geometry shells, an immaterial sensation. Steel is the building technology that best translates this idea into reality: steel for the structure, the surface cladding and the match with other materials. At one and the same time it affords freedom of composition, flexible handling of space, and speed of construction.The world’s first steel manufacturer, ArcelorMittal, has been keeping a close eye on the experimental new uses architecture is making of steel. In synergy with all other actors in the building chain, it has been researching into solu-tions by which to exploit material potential or generate innovation.As promoters of this special issue of The Plan devoted to architecture in the feminine, including interviews with the world’s leading women architects, we are pleased to present the viewpoint of some ArcelorMittal women. With its 320,000 staff and more, spread over 60 countries, the world of ArcelorMittal contains some rather “different” figures from the normal metalworker image: women architects liaising daily with design units to provide technical back up and pool steel know-how as gained by a worldwide group. This is some-thing of a challenge: it is not always easy to put across all the advantages of using steel in building. But the challenge is a gripping one whether in Belgium, with its long metal-working tradition, or in an emerging country like Brazil. Two of our women architects, Christine Etzenbach, until now at the Liège centre developing new solutions to the architectural shell, and Silvia Scalzo, in charge of the Brazilian design support unit, both agree that steel affords unique opportunities for building shells. The variety of surface appearance - high gloss, mirror, patina - not to mention processing, textural and colour differences, provide a wealth of sensations and insights.But can one actually ‘decline’ architecture in the feminine? Youthful archi-tect Lara Cappello, engaged in the business development side in Italy, thinks that architecture calls for pronounced sensitivity and often this a quality of women’s. Sensitivity means being able to perceive space, think it out afresh and give it form. Harnessed to technical knowledge of the materials, it can bring extraordinary results in architecture.

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But apart from the aesthetic and technical sides there is another consid-eration, as Polish architect Marta Dziarnowska points out. On behalf of ArcelorMittal Marta coordinates the European organizations promoting steel. “Buildings must be thought out as sustainable objects; that is a duty and a mission, whether in choosing materials or containing their energy con-sumption. Steel definitely offers many advantages and responds to environ-mental concerns at all stages of a building’s life: beginning with the concept phase, steel’s high ratio of weight/mechanical resistance enables one to design broad spans and reduce structural encumbrance. This gains accom-modation space or building height, and optimizes site exploitation. At the hands-on stage on site this means a saving in water and energy. Finally, at the end of its cycle a steel construction can be deconstructed, its materials recouped: steel is a recyclable material and in fact the steel being used for building today is already a recycled material, largely produced from scrap. Nowadays we must think and act with an eye on the future generations and their needs.”

Patrick Le PenseTommaso Tirelli

ArcelorMittalBuilding & Construction Support

Odile Decq Zaha HadidEva JiricnaBenedetta Tagliabue Winka Dubbeldam Eva Jiricna Benedetta Tagliabue

Elisabetta Terragni Winka Dubbeldam Carme PinósRenata SeminElisabetta Terragni Winka Dubbeldam Renata SeminCarme Pinós

Zaha Hadid Carme Pinós Renata SeminOdile Decq

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CHARACTERS

Elisabetta TerragniCarme PinósRenata SeminZaha HadidCarme Pinós Renata SeminBenedetta Tagliabue

Winka Dubbeldam Eva JiricnaOdile Decq Renata SeminWinka Dubbeldam Carme PinósBenedetta Tagliabue

Elisabetta Terragni Winka Dubbeldam Renata Semin

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WINKA DUBBELDAM

ODILE DECQ

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Winka Dubbeldam, dutch architect, is a graduate of the Academy of Architecture in Rotterdam (1990) and went on to take a Master at Columbia University, New York. She is director of the Post-Professional Program at the Architecture School of the University of Pennsylvania, Philadelphia. In 1994 she founded Archi-Tectonics NY. Since then she has exhibited at various venues including “The Unprivate House” and “Young Architects” at the MoMA (1999-2001) and at the Archi-Lab in Orléans (France, 2001). She took part in the project exhibition for the New York WTC area, curated by Max Protetch and presented at the Venice Biennale 2002. She was named the “Emerging Voice” by the Architectural League NYC in 2001, while Archi-Tectonics won the 2006 IIDA/Metropolis Smart Environments Award. In 2007 she published AT-INdex, a conceptual monograph on the work of Archi-Tectonics. Projects pending include: a condominium at Anguilla, Villa’s In the Sky, a residential building in New York; Q Tower and Unknot Tower at Philadelphia, and also various projects for private houses and shops in New York.

French architect, designer, town planner, Odile Decq studied at UP6 and IEP in Paris. She has taught internationally at architectural schools including The Bartlett in London and the Columbia University in New York. She is currently professor and head of the Architecture Department at ESA, Paris. Member of the French Academy of Architecture and Commander of the Order of Arts and Letters. Founded ODBC in 1985 together with Benoît Cornette. Their work is a dynamic vision of space based on the concept of Sensual Hyper-Tension. ODBC won the DuPont Benedictus Award® in 1995 for the Banque Populaire de l’Ouest, and again in 1999 for two university buildings in Nantes. In 1996, they received the Golden Lion Award at the Architectural Biennial in Venice for their overall achievements. Completed works include the A14 highway viaduct at Nanterre, the urban plan for Port de Gennevilliers, and the covered tribune for a rugby stadium in Orléans, all in France. Recent projects include the MACRO extension in Rome, a housing and commercial facilities building commissioned by Novoli Immobiliare, Florence, Italy; the Liaunig Museum in Neuhaus, Austria; the FRAC Bretagne in Rennes, France.

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ZAHAHADID

EVA JIRICNA

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British architect, designer and teacher, of Iraqi birth. She studied at the Architectural Association, London, from 1972 to 1977 and then joined the Office for Metropolitan Architecture founded by Rem Koolhaas, one of her teachers; there she worked on the Dutch Parliament Building extension (1978), The Hague. In 1980 she opened her own practice in London, designing a flat in Eaton Place that won a gold medal from Architectural Design in 1982. She also began teaching at the Architectural Association (1980-87). During the 1980s she entered several architectural competitions, winning those for the Hong Kong Peak (1983), the Kurfürstendamm (1986), Berlin, and for an art and media centre in Düsseldorf (1989). Her first significant constructed work was the Vitra fire station (1989-93) at Weil am Rhein, Germany. Hadid continues to teach in universities around the world, including Harvard University, Cambridge, MA, where she held the Kenzo Tange Chair at the Graduate School of Design. In 2004 she won the Pritzker Architecture Prize.

Eva Jiricna was born in Zlin, Czechoslovakia. She has lived and worked for more than 30 years in London ; her architectural experience began in 1968 at the Greater London Council, and with her impressive dedication and talent she was able to form her own practice by 1985, now also with an office in Prague. Jiricna has received many awards - Royal Designer for Industry, Royal Academician, C.B.E - as well as international recognition for her work and teaching. Her holistic design approach has resulted in the stunningly successful Hotel Josef in Prague, and a new University building due to open in Zlin.. In the UK she has compiled a large body of work, both in private and commercial sectors, recently completing several prestigious commissions for top jewellers Boodles, Harrods, and the Victoria & Albert Museum, including the just completed Jewellery Gallery featuring another of her elegantly engineered glass and steel staircases. The practice also excels in exhibition design - currently the acclaimed ‘Skin & Bones’ in London. EJAL has completed many projects on heritage sites both in the UK and abroad, including her first building in Prague, the Orangery in Prague Castle.

Carme Pinós, spanish, graduated at the Escuela Técnica Superior de Arquitectura de Barcelona in 1979. On 1982 she formed a partnership with Enric Miralles, ending in 1991. Their work received many awards as the City of Barcelona Prize for the Archery Range Buildings for the 1992 Olympic Games. In 1991 she set up her own studio. One of her main projects is the Cube Tower in Guadalajara (Mexico) and its model has become a permanent part of the MoMA collection. Currently she is working in many projects as the Novoli housing complex in Florence, the Catalan Government Headquarters in Tortosa, and the design of the Gardunya Square in Barcelona. She has combined her architect’s activity with teaching, working as a guest professor, amongst the most prestigious University in the USA (Harvard, Columbia, etc…) and Europe (ETSAB - Barcelona, Kunstakademie - Dusseldorf, etc...). Many prizes were received by Carme Pinós as the National Prize of Architecture of the Consejo Superior de los Arquitectos de Espana in 1995, the 1st Prize of the Biennial of Spanish Architecture in 2007 (the Cube Tower), etc…

RENATA SEMIN

BENEDETTA TAGLIABUE

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Renata Semin, brazilian, graduated in 1982 at the Faculty of Architecture and Urbanism at São Paulo University/ Brazil. In 1984 she founded Piratininga Arquitetos Associados with the partnership of 7 young architects.The responsibility of many projects developed by the firm during the 80’s and 90’s in Brazil is remarkable to define the professional profile: urban projects, new buildings, remodeling and restoration of historical sites, social housing, space planning and interior design for companies, having the government as a client or a family, or a corporation. Some of the projects are: an urban action for social and economical development in the South Zone of São Paulo metropolis; a plan for rehabilitation of Fortaleza central area, the libraries -both in Faculty of Architecture and Urbanism of University of São Paulo, the restoration and modernization of Sao Paulo central library - Mário de Andrade. Some others were developed in collaboration with the architect Paulo Mendes da Rocha for the São Paulo University (museums and other institutions) and for private clients.

Benedetta Tagliabue was born in Milan and graduated from the University of Venice in 1989. In 1991 she joined Enric Miralles’ studio where she became a partner. Her work with Miralles, whom she married, includes a number of high profile buildings and projects in Barcelona: Parque Diagonal Mar (1997-2002), Head Office Gas Natural (1999-2007) and the Market and quarter Santa Caterina (1996-2005), as well as projects across Europe, including the School of Music in Hamburg (1997-2000) and the City Hall in Utrecht (1996-2000).In 1998, the partnership won the competition to design the new Scottish Parliament building. More recently, she won the competition for Pavilion of Spain in the Universal Exhibition Shanghai 2010, (2007) and, also she is working in Public Spaces of Hafencity Harbor in Hamburg, Germany, Naples subway train station and Retail Redevelopment in Leeds, UK among others.Further she received the Honorary Doctor of Arts degree from Napier University (2004), The RIBA Stirling Prize 2005, the Centenary Medal from Edinburgh Architectural Association and the 2005 Spanish National Architecture Prize ‘Manuel de la Dehesa’, for the Scottish Parliament building.

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Elisabetta Terragni, italian, since graduating from the Milan Polytechnic, has taught in several overseas programmes, at the ETH in Zurich and as Visiting Distinguished Professor at the New York Institute of Technology. She now teaches regularly at City College of New York.Private houses, apartments, a loft and a greenhouse were designed and built in Italy where She also created temporary installations for trade fairs and museum exhibitions, such as the Palladio Center in Vicenza and Castelvecchio in Verona.In 2003 she won the competition for a major public school building in the town of Altavilla Vicentina (Vicenza). The structural solution for the roof was evolved in collaboration with the Swiss engineer Juerg Conzett (Chur), allowing for a tensioned slab of 90 meters in length. The building embraces patios and recreational areas within a continuous perimeter of glass and sliding screens.

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THE INTERVIEW

1 THE INFLUENCE OF INNOVATION AND TECHNOLOGY ON ARCHITECTURE

2 NEW OPPORTUNITIES: THE CONTEMPORARY HORIZONS OF ARCHITECTURE

3 THE LAWS OF PHYSICS: WHAT ARE THE NEW CONFINES OF THE “FEASIBLE”?

4 IS ARCHITECTURE FREEDOM?

5 THE ERA OF NON-STANDARDISATION

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6 THE EXPRESSION OF A CHANGING SOCIETY

7 SUSTAINABILITY: A LABEL, A MUST OR A MISSION?

8 CITIES WITHIN THE MEGACITY

9 THE ARCHITECT’S EGO IN A WORLD OF GENIUSES

10 WHY THE FUTURE NEEDS ME?

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THE INFLUENCE OF INNOVATION AND TECHNOLOGy ON ARCHITECTURE

Winka Dubbeldam - The generation of performative modulations and surfaces is facilitated by the use of generative software, such as Maya and Catia. FTF, file to factory manufacturing facilitates the actual build-ing of these modulations. Prefabrication itself is changing as well, where before it would be described as the industrial manufacturing of the same element over and over again, now these units are a series of varying elements, defined by an analysis of their performance, rather than their form or shape. This is worked out in our proposal for the Q tower.

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Odile Decq - Architects are always concerned by innovation and technology. Just as there is no architecture without the technology of materials, of structure and all techniques, so archi-tects have always focused on innovation. But, innovation is not only a technological question. Innovation relates directly with the state of evolution and development of society. As Hans Hollein expressed it at the Venice Biennale in its title “Sensing the future. Architects as seismograph”, architects try to capture and reflect by their project what happens and what will happen. It seems today that architects are more and more interested in innovation in technology but I do think that innovation is more than that and concerns social, cultural and human issues as well as technology. If, as architects, we organize a place for humans to live in, every innovation or transformation in the living process and its surrounds is also our concern.

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Zaha Hadid - Our ambitions towards creating fluid, dynamic and therefore complex structures have been aided by technological innovations. 3D modelling on the computer has served a definite purpose during our design processes, facilitating the application of complex double curved surfaces. We like to work a lot with curvilinearity because we believe it visually simplifies the configuration, and you can then cope with more complexity without crowding or cluttering the visual scene. Our designs demand continual progress in the development of construction technology, and industry continues to respond by providing ever more sophisticated tools. When those tools are developed, our designs in turn become more ambitious as we see the new possibilities created by technology.Although computers have simplified things, at the same time they have made it possible to achieve a greater degree of complexity in our digital work. There is an evenness to design now. But what I miss from the period before computation is all the cultural material. Physical models offered something different from the perspective of drawing, which was different again from the plan or the painting. Now there is a sameness and far fewer surprises - you don’t get layers of discovery.

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Eva Jiricna - Needless to say, historically the problems associated with construction led to inventions and new technologies which gave opportunities to those who were willing to explore them to create bet-ter results. It is not surprising that the monumental and most remarkable examples of historic buildings show technology stretched to its limits and subsequently creating miracles based on new possibilities and new solutions. If we look at our options today - compared with our predeces-sors - we have got a much larger range of choices and we are conse-quently more and more selective about how we use them. For some of us it is very tempting and challenging to follow the latest discoveries and the latest inventions and accept the risk associated with such a route; but there are others who use their creativity within the limits of well known and well established methods and achieve excellence by other means. I am personally always looking for new means and new technical solutions. I find this exciting, challenging and satisfying (it’s not always the same for the clients who inevitably have to share the risk and financial implications…)

Carme Pinós - To speak of technology in architecture means speaking of lots of things at once: the tools for drawing or calculating, the tech-nology altering the sense perceptions by which we perceive space - by light, sound, climate factors, etc.. Technology is also changing how we process materials and then manipulate them. Which is to say that tech-nology actually comes into the whole architecture process and the use we make of it later. When we talk of technology applied to drawing or calculating, we should remember that it is giving us opportunities today that past times never imagined. But we can get to a point when so much freedom gets us down.

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Elisabetta Terragni - I’m reminded of Cedric Price’s pun: “Technology is the answer. What was the question?” No doubt architecture always needs technological innovation, but it also needs to resist technologi-cal dictates. Some of the worst practices result from an acceptance of certain products that seem economically attractive (at the time) but may have nothing else to recommend them. Remember silicone rubber and aluminium windows? The former has killed precision, the inventor of the latter was sent to the lower circles of hell by Woody Allen.

Renata Semin - The architectural conception is understood as a knowl-edge issue dependent on a commission demand and an architectural opportunity. The project and its articulations within the industrial and technological world tie up and search for innovative systems. Designing architecture is part of a continuously innovative process.

Benedetta Tagliabue - It is always very important.I think that today technology gives the possibility to achieve a higher complexity. And this is very beautiful because technology is giving architects and builders a lot of new possibilities.

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1/2 ODILE DECQ - EDIFICIO PER RESIDENZE E SPAZI COMMERCIALI PROGETTO IN CORSO, FIRENZE Courtesy ODBC architectes urbanistes

3 WINKA DUBBELDAM - UNKNOT TOWER PROGETTO IN CORSO, PHILADELPHIA, USA Courtesy Archi-tectonics

4 ZAHA HADID DUBAI BUSINESS BAY SIGNATURE TOWERS PROGETTO IN CORSO, DUBAI, UAE Courtesy Zaha Hadid Architects

5 EvA JIRICNA CANADA WATER BUS STATION LONDRA, UK, 1999 © Richard Bryant

6 BENEDETTA TAGLIABUE - CENTENNIAL PAVILION IN COMMEMORATION OF THE 100TH ANNIVERSARY OF THE CITY OF ESCH-SUR-ALZETTE, LUXEMBOURG, 2006 © Pierre Engel

7 ELISABETTA TERRAGNI CASA BIANCHI, SERRA CERNOBBIO, ITALIA 2002 © Brigitte Desrochers

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NEW OppORTUNITIES: THE CONTEMpORARy HORIzONS OF ARCHITECTURE

Zaha Hadid - The current state of architecture requires extensive col-laboration and an investigative attitude. There is a strong recipro-cal relationship whereby our more avant-garde architectural visions encourage the continuing development of new digital technologies and manufacturing techniques required to make those visions a con-structed reality, and those new developments in turn inspire us to push the design envelope ever further. Great things can come out of this method of working.

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Carme Pinós - When we do architecture it would be absurd not to reckon with the innovation in materials that technology affords. Architecture must meet the demands of every moment and and hence to be opened to everything the contemporary world offers us. It is another matter when one manipulates the real perception of space into mere stage scenery. Technology gives us a huge range of possibili-ties; the reverse side is getting cut off from the tangible and sensual in essential, elementary terms of expression. That seems to me another danger.

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Odile Decq - Paul Virilio told me once that today architects are facing a challenge that is much more complex than ever: the question of the desire or pleasure factor.The horizon is by its very nature unreachable. You always travel towards it and in crossing the sea you negotiate with the elements. Facing the challenge expressed by Virilio, the new horizon lines of architecture are diverse and often contradictory: urban context desire versus city den-sity, growth of rich people versus social issue of poverty, people’s mobil-ity and constructional lightness/versus energy saving; space transpar-ency and fluidity versus frontiers and security; fast communication and exchanges versus local flesh- and eye-contact.

Renata Semin - The target is better conditions for urban life and a sus-tainable situation for our cities. One contemporary attitude towards urban design is to promote democratic access to relevant and up to date information about the urban space - services, territory, occupa-tion, environment, health, education, security, planning.

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Winka Dubbeldam - Our research, as it has evolved over the last 10 years, is focused on re-thinking, re-searching and re-evaluating the question asked, and the generation of performative models. Performance in the traditional sense; maintenance of free skins, low energy use and ‘green’ structures, but even more the creation of challenging environments, where the boundary is blurred between industrial design intelligence and architecture. The attempt is to minimize the influence of bias or prejudice in the experimenter when testing a hypothesis or a theory, in order to get to some level of invention. The focus is not on form but on the performa-tive, not on aesthetics but on intelligence. Our Greenwich building changes the way the city relates to domestic space and vice versa.

Benedetta Tagliabue - Travel and communication without limitations of distance. This is revolutionary compared to being an architect only 20 years ago and I think that this is the greatest change we have been given.

Elisabetta Terragni - Many opportunities beckon: new materials, new fabrication processes, new sensibilities. The latter are more important to me than the former. As we gain a better understanding of how we react and interact, we will become more selective and more sensitive to our surroundings.

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Eva Jiricna - Through computer technology globalisation has become a fact of life. Not only is the creative process drawing on collective knowledge on a truly global scale but the end-users are equally well informed and require architects to stretch their abilities beyond the ter-ritorial image of the counties of their origin. We are now living in a world without boundaries in which the rules can change at any time. The new technologies allow us to stretch our imagination beyond the “possible” and explore the “forbidden”, giving us a chance to realise our dreams. On the other hand we are giving ourselves new tasks and new limits related to our responsibilities to the planet and the human race. There is nothing to stop the creative process but we have to bear in mind that living means letting others live too.

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1 ZAHA HADID - MAXXI: NATIONAL MUSEUM OF XXI CENTURY ARTS WORK IN PROGRESS, ROME, ITALY Courtesy Zaha Hadid Architects

2 CARME PINóS - CUBE TOWER GUADALAJARA, MEXICO, 2005 Courtesy Estudio Carme Pinós

3/4 ZAHA HADID - LONDON AQUATIC CENTRE WORK IN PROGRESS, LONDON, UK Courtesy Zaha Hadid Architects

5 EvA JIRICNA - BOODLES, NEW BOND STREET LONDRA, UK, 2007 © Richard Bryant

6 ELISABETTA TERRAGNI - KINDERGARDEN AND ELEMENTARY SCHOOL: COMMUNITY THEATER ALTAVILLA VICENTINA, ITALY, 2008 © Mike Dolinski

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THE LAWS OF pHySICS: WHAT ARE THE NEW CONFINES OF THE “FEASIbLE”?

Eva Jiricna - The laws of physics do not change, only our interpretation might be different due to the increase of relevant knowledge. Through our understanding of science we can find a way of stretching the limits of the feasible and allow ourselves to increase the area within which we oscillate.

Zaha Hadid - Our architectural language is driven by new digital design and manufacturing tools which allow for fluid and organic forms instead of the repetition of separate mechanical parts. The recent ability of structural engineers to calculate complex geometries and mixed structural systems is also a factor pushing this exciting new modern architecture forward.

Renata Semin - Architectural design counts on these laws for collaboration. Take the Library project presented in this case. Suspended steel joists (truss beam) - 3.75 metres high by 71 meters long - hang the lower floors of bookshelves. The engineering challenge aimed at and achieved technical, economical and constructive feasibility.

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Odile Decq - Physics and its laws remain the same but it is true that the feasible has reached new limits. Peter Rice explained to me once how calculation tools give engineering new fields of exploration. What was easy to design and conceive was not so easy to calculate before the emergence of strong calculators. Today, we can build extreme cantilevers, fluid structures and forms, destabilized volumes, floating disassociated objects, etc. This technical evolution gives engineers and architects new responsibilities in their interactive relationship.I always dream I will live until “teleportation” is invented! More seriously, I am every day interested in new developments in physics, astrophysics and the biological sciences. So, who knows?

Elisabetta Terragni - It depends on the physics you invoke: More is feasible than we have figured out how to use. Light materials instead of heavy ones; the familiar treated in inventive ways. Most of all, we need to find the right ideas and match them with the right materials. Synthetic textiles and new coatings guarantee lightness and durability where a certain heaviness and costly efforts used to be necessary. But because something is possible, it doesn’t mean it actually needs to be done. The limits I recognize are as much limits of our senses (and limits of what makes sense) as they are limits of performance.

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Benedetta Tagliabue - The realm of physics nowadays is handling a much more detailed and complex level.I have been invited to roundtables of physics, interested in understand-ing, for example, the elaboration of a project like designing a building.Understanding our complexity and being able to have a science capa-ble of describing it is a wonderful possibility.

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1 ZAHA HADID - “OPUS” OFFICE TOWER WORK IN PROGRESS, DUBAI, UAE Courtesy Zaha Hadid Architects

2 ODILE DECQ - MARITIME TERMINAL WORK IN PROGRESS, TANGER, MOROCCO Courtesy ODBC architectes urbanistes

3 BENEDETTA TAGLIABUE SANTA CATERINA MARKET RENOVATION BARCELONA, SPAIN, 2005 Courtesy EMBT Arquitectos

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IS ARCHITECTURE FREEDOM?

Carme Pinós - In answer to the question whether architecture is free, I would say the whole process must be free if it grasps its own responsibil-ity. In that sense architecture also meets another requirement: we need everyone’s ego if we shoulder our own responsibility; which means awareness of the repercussions of our actions.

Benedetta Tagliabue - No, architecture is not freedom. Architecture is about limits and about knowing how to calibrate the limits you are work-ing with and how to make them coexist with each other and yourself.

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Renata Semin - Practice is freedom. Fifty percent of my life has been dedicated to professional practice with a team of talented partners and decisive collaborators. Recently our firm has pro-moted innovative partnerships. This wider range team is focused on special urban approaches like sustainability, pavement design, restoration of public spaces and buildings. Freedom is recognition of and emphasis on the architectural values of each project.

Elisabetta Terragni - To many of us architecture is above all a necessity. If I say I seek freedom in architecture, I must agree to work under the conditions that obtain. They do vary greatly from culture to culture, from place to place. When everything is said and done, architecture appears to yield only limited freedom.On the other hand, I can rethink every job I’m asked to do and try every time to propose another solution than a client may expect. I can invent another way of hanging my windows and lighting my spaces, I can choose colours and surfaces, create an atmosphere and propose an experi-ence that could not be achieved in another way. If architecture is freedom, it depends on our capacity to invest that freedom in our buildings.

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Winka Dubbeldam - Yes, within restrictions, if one sees restrictions as a design challenge, as we do, it feels free.

Odile Decq - Architecture is becoming more and more free and the limits of its freedom are the demands of society, the reality of people’s and client’s needs, respect for a budget and first of all the architect’s own ethics.

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Eva Jiricna - Architecture is not freedom and it would be no fun were this the case. There are restrictions in life as much as in architecture and we have to define our own limits. The trick is to sail through all those obsta-cles without making a compromise. I would like to quote Charles Eames who said in his last lecture in London, having been asked how many compromises had he been forced to make during his lifetime, “I have never accepted a compromise since I always understood con-straints”.

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Zaha Hadid - Architecture can be a vehicle in which I think you can address certain very important social issues evident in the complexity of people’s lives in the 21st century.

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1/2 BENEDETTA TAGLIABUE - SPANISH PAVILLION FOR EXPO SHANGHAI 2010 WORK IN PROGRESS, SHANGHAI, CHINA Courtesy EMBT Arquitectos

3 WINKA DUBBELDAM - GREENWICH STREET PROJECT NEW YORK, USA, 2004 Courtesy Archi-tectonics

4 ODILE DECQ - MACRO MUSEUM OF CONTEMPORARY ART WORK IN PROGRESS, ROME, ITALY Courtesy ODBC architectes urbanistes

5 EvA JIRICNA - FINE JEWELLERY ROOM RENOVATION, HARRODS LONDON, UK, 2006 © Richard Bryant

6 ZAHA HADID ABU DHABI PERFORMING ARTS CENTRE WORK IN PROGRESS ABU DHABI, UAE Courtesy Zaha Hadid Architects

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THE ERA OF NON-STANDARDISATION

Renata Semin - Standardization or non standardization is not the ques-tion. The decisions that have to be taken along a design process lead to the appropriate solution or specification for each issue. The possibility of reproduction on a large scale is welcome in situations like constructing components and products to achieve more accurate constructional performance, employing qualified workers and getting better services. In Brazil this is an issue to be carefully handled and discussed because of our great housing shortage.

Odile Decq - In this freedom there has emerged the idea of the “non-standard”, helped by new industrial machines driven by specific com-puter programs for construction and material optimization. This is true for some one-off projects but others are more difficult, such as housing as long as human beings keep living on the horizontal. The Oblique Function world has not yet arrived everywhere!

Winka Dubbeldam - Standardisation will be replaced by custom manu-facturing, we are working on the Cibani residence with a car designer, to have the façade made as a prototype!!!!

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Zaha Hadid - The architecture of repetition that marks out the 20th

Century has been superseded by buildings that are adaptable, as well as encouraging diversity. The traditional architecture of crisp platonic blocks and crystalline grids is antithetical to these new demands for variation and intensive integration of contemporary life patterns.

Carme Pinós - It’s not a question of doing whatever is now possible, but of knowing what we want, what we are asking of architecture and, above all, what model town corresponds to our own existential wishes and needs. That is to say, what architectural space - inside or outside - do we want to live in and relate to? In a society where the structures are constantly changing and individualism is to the fore, it is hard to find models for coexistence except for those dictated by the market with its clear penchant for abstraction, tending to turn us all into statistics and numbers. No stable, lasting model interests a society like ours based on production and consumption; it is change that fuels this, not stability. We’re in danger of believing that anything goes, and making research serve that end.

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Benedetta Tagliabue - Nowadays we have technical possibilities which are dealing with complexity. A lot of disciplines, including physics, are now dealing with it.Standardisation is a kind of forcing which was relevant when technol-ogy had more limits. Now technology, giving more ways of handling complexity, makes us nearer to the craftsman’s way of working. Using all these possibilities properly is, I think, one of the great chal-lenges for the future.

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Elisabetta Terragni - Modern architecture played the card of stand-ardization and economy until the game was over. It may have left us anaemic and disillusioned. Non-standard geometries suggest another idea about the world and how it works. It is certainly much more in tune with our sensibilities.

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Eva Jiricna - Since we live in much greater luxury - those who have got money to spend or invest want something special, a ‘one-off’ piece. That is only one side of the coin. The other happens to be the fact that in the building industry we have never found a real answer to non-standardisation. To standardise means to produce a repetitive product and use it as such. Even though there have been many attempts to standardise various buildings units (windows, doors, ceiling panels, lighting etc) the process of putting them together is usually one-off. One of the reasons for non-standardisation is a lack of flexibility and high costs, sometimes only related to the cost of manufacturing and limited lifespan. There are problems with replacements and, above all, we do not like uniformity. Various dictatorships have tried and failed. The entire world is aiming at more freedom.P.S. It is always dangerous to make these sweeping comments. Standard housing units in under-developed countries would be a blessing and standard tents or hospitals etc. would help to resolve the immediate problems in disaster areas. More common sense and less ego might be a help in certain situations.

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1/2 WINKA DUBBELDAM - Q TOWER AND CIBANI RESIDENTIAL UNIT WORK IN PROGRESS, USA Courtesy Archi-tectonics

3 ZAHA HADID - NURAGIC AND CONTEMPORARY ART MUSEUM 2006, CAGLIARI, ITALY Courtesy Zaha Hadid Architects

4 BENEDETTA TAGLIABUE - CENTENNIAL PAVILION IN COMMEMORATION OF THE 100TH ANNIVERSARY OF THE CITY OF ESCH-SUR-ALZETTE, LUXEMBOURG, 2006 © Pierre Engel

5 EvA JIRICNA - PRIVATE RESIDENCE LONDON, UK, 2004 © Richard Bryant

6 ZAHA HADID - BERGISEL SKI JUMP INNSBRUCK, AUSTRIA, 2002 © Hélène Binet

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THE ExpRESSION OF A CHANGING SOCIETy

Elisabetta Terragni - Our society changes more than our architecture does. As a matter of fact, our architecture has changed very little, we still hear the customary complaints from our grandfathers whenever something happens outside their frame of mind. Italy seems a country where modernism and its kitsch have survived amazingly well. Does this mean that our society is also slow to change?

Odile Decq - How far is it the instability of the world, more than changes in society, that keeps questioning architecture in terms of forms and urban development and in terms of new social and political relation-ships that can influence our vision of architectural space?I often ask myself each of these questions. I can’t give even one answer.Nothing is definitive, every solution, every proposal is transitory.

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Eva Jiricna - Society is changing for political, economic, cultural and many various, complex reasons. Architects can respond to the changes and help to prevent some of the undesirable effects occurring. There have been various utopian ideas to solve the future, there have been various despotic mega-projects proposed during distant, and less distant, history. We have examples of famous architects designing cities (Louis Kahn, Le Corbusier, Oscar Niemeyer, etc.), and we have the developers of “ Canary Wharfs” and Prince Charles villages. Cities have to grow naturally through ever changing requirements and mutual understanding of all parts of societies. There is a long way to go.

Zaha Hadid - One of the great challenges of 21st century contemporary architecture is the fun-damental restructuring away from the “Fordist” concept of repetitive blocks typical of industrial mass society (large, square factories containing long assembly lines of similar workstations with staff each repeating the same task hour by hour, and the square repetitive blocks of traditional homes, offices and skyscrapers of the 20th Century), towards a “post-Fordist” society of flexible specialization, with its new order of diversity of work and life processes and a new level of fluid-ity and dynamism in careers, institutions and corporate organizations. The more complex lives we lead in the 21st century overlap and integrate rather than separate the life aspects of work, education, entertainment and habitation. The modern principle of functional zoning in regular grids has been superseded by agendas of layering in mixed-use developments.

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Winka Dubbeldam - Society is now purely global with traces of the local, as described by Saskia Sassen! We are building the Un-Knot tower, a GHM hotel & residences which are mostly occupied by perma-nent travellers. Service is crucial and of a very high international level.

Benedetta Tagliabue - Architecture always expresses the situation and the needs of a society in a certain moment and place. It was so in the past and will be so in the future. This is what makes architecture so interesting, that it is always evolving together with people, users, society, time and so on.

Renata Semin - The range of this expression leads me to place side by side extreme and at other times contrasting situations that are now jux-taposed as never before: worldwide access, regional culture, local tra-ditions, nanotechnology, robotics, handicrafts, high industrial perform-ance, natural lifestyles, restoration, destruction, memory, “dismemory”. Our project team, as a professional attitude, has been successful in designing for wide-ranging issues such as social housing, space plan-ning for corporations, chemical laboratories, countryside construction, technological sites, libraries, buildings for health care, urban planning, public spaces and every subject related to our existence.

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1/2 ZAHA HADID - MAXXI: NATIONAL MUSEUM OF XXI CENTURY ARTS WORK IN PROGRESS, ROME, ITALY Courtesy Zaha Hadid Architects

3 RENATA SEMIN - CAMPINAS CATHOLIC UNIVERSITY CENTRAL LIBRARY CAMPINAS, BRAZIL Courtesy Piratininga

4 ELISABETTA TERRAGNI - KINDERGARDEN AND ELEMENTARY SCHOOL: CORRIDOR ALTAVILLA VICENTINA, ITALY, 2008 Courtesy Elisabetta Terragni

5 BENEDETTA TAGLIABUE - VIGO UNIVERSITY CLASSROOMS AND CONNECTING BRIDGE VIGO, SPAIN, 2003 Courtesy EMBT

6 EvA JIRICNA - FINE JEWELLERY ROOM RENOVATION - HARRODS LONDON, UK, 2006 © Richard Bryant

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SUSTAINAbILITy: A LAbEL, A MUST OR A MISSION?

Odile Decq - Is the sustainability debate a new question or just another function to be resolved? Is it a new definition of our way of living or a fundamental re-definition of architecture? For my part, educated as I was in architecture during the seventies, the tail end of the hippies and during the first oil crack, solar, bioclimatic architecture and the self-sufficient environment were nourishing fun-damental questions and debates at school. So I consider that subject with its consequent responsibilities as an evident basic constraint for a project, never a “mission” (I hate that word: it seems religious!). If, today, it is used as a label it gives people more consciousness of it.

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Renata Semin - An assertive mission, a statement. Using the library as an example for the moment: the design brief was natural ventilation and lighting, low energy consumption, universal design for accessibility, rational construction process, adequate per-formance of infrastructural systems and low cost maintenance. Such a starting point emphasizes quality in architecture.

Benedetta Tagliabue - Sustainability is a name, a word. Sometimes I just try to understand what really lies beyond this word, other than being a word that makes everything you do acceptable. I think its meaning is about living well in a place, in harmony with people and with the environment, and that’s something not new to us. We have always tried to achieve this: to make architecture attentive to the site, attentive to the people using it or looking at it. Attentive to durability or to its existence in time. Most of the time traditional architecture is very sustainable. It is useful to be aware of that.

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Winka Dubbeldam - This Mission is a must.

Eva Jiricna - Sustainability is a condition of human survival on this planet. In the same way as people accepted using toilets as a good thing, they will have to willingly accept sustainability as something which is in their favour.

Zaha Hadid - There are many architects that use sophisticated air-conditioning and interior design methods to improve the ecological balance of a building - whereas I am concerned with adjusting new materials and manufacturing methods that are relative to a whole new paradigm of space articulation and space making. In the end, these different clusters of development - sustainability and the applicability of the materials - will come together again, bringing solutions to a great many problems.

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Elisabetta Terragni - Sustainability is a slogan. There are reasons for this, and some of them are important but far from new. Remember that most houses had two sets of windows, one was removed during summertime and mounted when it got cold? Remember that we had several sets of clothes before air-conditioning and heating created an artificial indoor climate? And why should we splurge all that light over every interior? Reasonable choices, tested for centuries, went a fair way toward sus-tainability. Using heat-pumps, better insulation, voltaic cells, aeolian power and the like is not only reasonable but necessary.

1 ELISABETTA TERRAGNI - CASA BIANCHI GREENHOUSE CERNOBBIO, ITALY, 2002 © Brigitte Desrochers

2 RENATA SEMIN - CAMPINAS CATHOLIC UNIVERSITY CENTRAL LIBRARY CAMPINAS, BRAZIL Courtesy Piratiningaa

3 EvA JIRICNA - HOTEL JOSEF PRAGUE, CZECH REPUBLIC, 2002 © Ivan Nemec, Berlino, Praga

4 ELISABETTA TERRAGNI APARTMENT IN ENGADINE SAMEDAN, SWITZERLAND, 2005 © Vaclav Sedy

5 ELISABETTA TERRAGNI KINDERGARDEN AND ELEMENTARY SCHOOL: CORRIDOR ALTAVILLA VICENTINA, ITALY, 2008 Courtesy Elisabetta Terragni

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CITIES WITHIN THE MEGACITy

Benedetta Tagliabue - Its not easy to answer shortly on such a broad topic. I think that the Megacity is the great contemporary theme; it is for example the theme of the future expo 2010 in Shanghai, where we are going to build the Spanish pavilion. “How to live well in the big city”: the architecture of our Spanish pavilion is an answer to this question.

Eva Jiricna - Too much intellectual argument with very little practical implication.

Winka Dubbeldam - New York is one of the examples, yes. Niche cul-tures as described by Alvin Toffler in the Sixties are getting to be a really strong force in the city and on the internet.

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Odile Decq - Mega-cities is where more than half of the world popula-tion lives. I don’t understand that difference between city and mega-city. Mega-city is a city. If the question refers to cities as the historical ones, they are just a few areas where a small part of the world live within privileged urban conditions. If this question refers to areas within mega-cities that we could call cities, it means the question of the neighbour-hood. Again, as in the second question, this is a social issue in urban development. It could be developed as a network of local urban cores, whatever they are - horizontal or vertical.

Elisabetta Terragni - Megacities are an abstraction. Nobody “lives” in a megacity, everyone lives in surroundings of rather limited dimensions. What makes large cities often so interesting is the fact that they harbour small ones. When I think of the East Village in New York, it reminds me of Porta Ticinese in Milan. With the difference that its mix of stores and opportunities is far denser and much more complex and variegated.

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Renata Semin - São Paulo, where I live, has turned into one of the world megacities. This prefix is a value and a problem to deal with. Spreading out through the territory, overcoming the natural ground irregularities, coping with unplanned occupation, the construction of street networks and the never-enough infrastructure, the constant appeals of urban life, all this require new policies to face spatial, social, economic and cultural issues. Multidisciplinary investigations conducted at University level, practitioners, civil society and the government must urgently converge their action and intervention in order to discuss democratically, create a platform of policies and struggle to apply them each with their own respective responsibilities in this global megacity. The example of São Paulo may easily be reproduced in other megacity case studies such as Mexico City, Mumbai, Johannesburg. I mean, not so much for its privileges but for its challenges.

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Zaha Hadid - Human civilization has always relied on architectural structures and their arrange-ment into towns/cities to build up and stabilize a social order. Cities have been building up ever more complex infrastructure and developments, and superimposing layer upon layer, as well as growing ever larger. Only in this way was it possible to structure a society with sufficiently complex and robust life processes and institutions.The modern era has created a new set of infrastructure systems that complement, compete with, and extend beyond traditional architecture. These systems include mechanical systems of transportation (i.e. trains, automobiles, aviation) and various systems of telecommunication (printing, broadcasting, telephone, and internet). The social order and complex social functioning of contemporary society In the 21st century depends upon these technical systems of communication as much as they depend upon the patterns of built-up environments.

1 WINKA DUBBELDAM - UNKNOT TOWER WORK IN PROGRESS, PHILADELPHIA, USA Courtesy Archi-tectonics

2 ODILE DECQ - MARITIME TERMINAL WORK IN PROGRESS, TANGER, MOROCCO Courtesy ODBC architectes urbanistes

3 CARME PINóS - GARDUNYA SQUARE PROJECT WORK IN PROGRESS, BARCELONA, SPAIN © Estudio Carme Pinós

4 ODILE DECQ - ARCHIPEL WORK IN PROGRESS, LYON, FRANCE Courtesy ODBC architectes urbanistes

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THE ARCHITECT’S EGO IN A WORLD OF GENIUSES

Odile Decq - No comment to this question. Not interesting.

Winka Dubbeldam - That is so un-interesting.

Eva Jiricna - Unnecessary, surplus.

Renata Semin - This statement is the opposite of the architectural proc-ess I believe in. Responsibility and an integrated team of skillful interdis-ciplinary professionals are the components behind design.

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Zaha Hadid - Everything requires more diligence, but I think architects, generally, really have a hard time. Every architect you can talk to, no matter how successful they are, even the “top” guys, have it very, very difficult.

Elisabetta Terragni - In a recent interview, Dan Graham observed with more than a tinge of irony that “architects want to be artists, and artists want to be architects. I think I started that.” Let’s not forget though that what made Renaissance architecture so rich and inventive was the fact that its greatest figures, from Brunelleschi to Giulio Romano, by way of Alberti and Michelangelo, were not architects in any professional sense. I feel that an artistic sensibility or a scientific bent have every reason to be protagonists in current architecture.

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Benedetta Tagliabue - Ego is a problem for every human being! And it is present for sure in every profession. Now in architecture we have a need for visibility, given by the fact that we have to work in a very extended world. In this extended network of communications, I think it is very important to use our image and our visibility correctly. It’s important to try to maintain our ego within a limit, just as every other human being has to do.

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1/2 ZAHA HADID - PHAENO SCIENCE CENTER WOLFSBURG, GERMANY, 2005 © Werner Huthmacher 3/4 BENEDETTA TAGLIABUE - GAS NATURAL’S NEW HEADQUARTERS BARCELONA, SPAIN, 2008 © Romain Piro

5 ODILE DECQ - GREENLAND FURNITURE CENTRE SHANGAI, CHINA, 2007 Courtesy ODBC architectes urbanistes

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WHy THE FUTURE NEEDS ME?

Odile Decq - You will tell me!

Zaha Hadid - Because I think through our architecture we can give people a glimpse of another world, enthuse them and make them excited about ideas.

Eva Jiricna - Does it? I wonder. Since I don’t know I’ll go on doing my best and run the risk that it might all be wasted.

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Renata Semin - As part of a project team dedicated to research, design, developing and applying our knowledge to achieve better conditions in our cities. The attention must focus on a virtuous and ethi-cal process.

Benedetta Tagliabue - The future never needs any of us, that is for sure. Life is cruel. But I very much enjoy dealing with the present. The present gives me a lot of plans with which to look towards the future. Plans which I hope will help bring happiness to many many people.

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Elisabetta Terragni - Whether the future needs me or not, I’m working on it. I’m honing my sensibility and my feeling for the issues we are facing. And I’m teaching future architects. After a long period when architec-ture seemed above all harsh, unforgiving and even brutal, I’m trying to handle it with a more delicate touch. It matters to me (and obviously to my clients) whether my work elicits an emotional response, suggests nuance, opens areas of quiet and room for balance. I’m happiest when I can make architecture with as little “stuff” as possible. I hope to offer as ephemeral and enjoyable an experience as I can manage in a world of speed, simulation, and angst.

Winka Dubbeldam - It probably doesn’t.

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1 ODILE DECQ - MACRO, MUSEUM OF CONTEMPORARY ART WORK IN PROGRESS, ROME, ITALY Courtesy ODBC architectes urbanistes

2 BENEDETTA TAGLIABUE VIGO UNIVERSITY SPORT BUILDING VIGO, SPAIN, 2003 Courtesy Benedetta Tagliabue

3 RENATA SEMIN - MARIO DE ANDREADE LIBRARY SÃO PAULO, BRAZIL, 2006 Courtesy Piratininga

4/5/7 WINKA DUBBELDAM - GREENWICH STREET PROJECT NEW YORK, USA, 2004 Courtesy Archi-tectonics

6 EvA JIRICNA - CANADA WATER BUS STATION LONDRA, UK,1999 © Richard Bryant

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Courtesy Vasconi Architects

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THE INFLUENCE OF INNOVATION AND TECHNOLOGy ON ARCHITECTURE

That’s our goal: offering services and solutions to deliver immediate improvements for architecture. A better cost-efficiency for maximum flexibility

ANGELINA™ BEAM: SMART AND SENSUAL Angelina™ beam is a clever idea applied to an industrial product developed by ArcelorMittal. Sleek, open, transparent and flexible, the Angelina™ beam offers a new architectural dimension within an environmentally friendly approach. Thanks to a reduced production time and substantial mate-rial savings, Angelina™ meets the economic requirements of your projects, while ensuring optimum safety. Result of the collaboration between industry and architects, has been awarded with the Gold Medal of the Design Trophies at Batimat 2007 Expo. Made from H or I steel beams cut through the web along a sinusoidal line with the two T-sections then being offset and welded together, the resulting Angelina™ beam is one and a half times the height of the original profile. This manufactur-ing method allows the height of the beam to be adjusted with precision and minimizes offcuts during fabrication.With its large spans up to 18 m, its oblong, pleasing shapes and its soft, gentle geometry, Angelina™ leaves plenty of scope for design and imagination by overcoming normal technical constraints

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Courtesy ArcelorMittal

Angelina™ uses the least amount of material to be refined and light. It optimises construction heights, the number of beams and columns, the size of the foundations and many physical constraints. It can thus reduce the steel weight in the slabs of office. The weight saving, the optimization of the cuts, the height and weld length reductions have a beneficial influence on the fabrication costs. On job site, the large openings allow for the fast installation of pipes and ducts. All kind of fluids and even very large rectangular ventilation ducts (0.7 m x 0.4 m) can be easily integrated into the Angelina™ openings. A simplified fabrication guarantees a “Just in time” delivery to the site. The quick and easy assembly ensure a flexible, economical and safe construction.To fulfil additional requirements, specific finishing operations such as bending and cambering, or the production of hybrid beams are available upon request. ArcelorMittal is at disposal for a technical support in all phases of the building process.

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1 2Courtesy EMBT

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HISTAR® BEAMSHistar® structural steels were chosen for the Gas Natural Tower (Fig. 1) by Benedetta Tagliabue. They are a low-alloy hot-rolled steel with high yield stress and enhanced welding properties. Produced by an innovative “in-line” heat treatment (QST or Quenching and Self Tempering), their mechanical properties make them ideal for multi-storey projects. Since they are more resistant than conventional building steels, for a given load one can reduce the weight and cost of the structure and simplify welding and assembly operations (given their low carbon content, they generally need no pre-heating). They perform splendidly if used in composite steel/concrete constructions, as high-compression pillars, in seismic zones and on offshore rigs. Histar steels S355 and S460 are available for HE sections with h ≥ 260mm, and for IPE sections with h ≥ 500mm.

THE LAWS OF pHySICS: WHAT ARE THE NEW CONFINES OF THE “FEASIbLE”?

COMPOSITE CONSTRUCTION: STRUCTURESAs used in the Phaeno Science Center (Fig. 3) by Zaha Hadid and in the Macro Museum (Fig. 2) by Odile Decq, this is an excellent choice for a complex building. The hot-rolled steel section beams that form the structure are connected to the slab (profiled steel sheet and bonded concrete pad) by con-nectors welded to the beam flanges, so as to make the whole structure bind together in all its parts, which also gives a better performance in earthquake conditions. The concrete pad is hence not just a mere horizontal division, but a compressed part of the composite section. This building technique has considerable advantages: it increases resistance and rigidity, lessens sag and cuts down floor depth. The composite steel/concrete solution applied to pillars (steel column with reinforced concrete between the flanges) has a further advantage in terms of resistance and fire-proofing, as well as tak-ing up less room than a traditional pillar in reinforced concrete.In constructing a metal framework one may use a range of hot-laminated sections, from the tradi-tional H and I shapes to the latest innovations.

Everyday we move boundaries of the feasible a little further

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3© Pierre Engel © Hélène Binet

COMPOSITE CONSTRUCTION: STEEL FIBRESArcelorMittal offers a full range of steel fibres for concrete reinforcement. Steel fibres provide an alter-native to traditional concrete reinforcement. Concrete reinforced with steel fibres becomes a composite material with specific properties and advantages that enables considerable cost- and time-savings in many applications. There are numer-ous applications: industrial flooring with and without joints, slabs on piles, fibre-reinforced concrete floors composite floors, shotcrete for road and railway tunnels. Made from high tensile steel wires, steel fibres are available in various lengths from 20 mm up to 40 mm, with optimized length-diameter ratio and specific shapes, assuring an improved anchorage into concrete.

COMPOSITE CONSTRUCTION: FLOOR SySTEMSArval, ArcelorMittal Group, offers a wide range of floor systems made up of galvanised decks or galvanised-precoated decks. These profiles, carefully combined with materials such as concrete, thermal- and acoustic-insulation, plaster, and wood, form advanced construction systems intended for all types of structures. All systems combine mechanical strength, ease of installation, safety, and compatibility with the structures and networks; once in place, they present an underside with a fin-ished, clean, sealed appearance which can be left uncovered.• Cofraplus® and Cofrastra®: these are composite floors, i.e. the concrete slab and the embossed steel decks are interdependent and work together to produce the composite resistance of the floor. The deck is manufactured from 0.75mm gauge steel and is designed for spans up to 4.50m without props over 2 continuous bays, and slab thicknesses of 10 to 28 cm. • Cofradal®: This is a prefabricated composite floor system ready to be laid that incorporates a special steel section, acoustic and thermal insulation material, a welded mesh and a concrete slab. The ele-ments are 1.20 m wide with lengths up to 7 m, and combine lightness with acoustic and thermal per-formance, and fire resistance. This system is the ideal solution for rapid installation without propping.

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KARA®: INNOvATIvE ARCHITECTONIC SOLUTIONS KARA® is a new series of ferritic stainless steel products by ArcelorMittal. The alloy of this family of ferritic steels has a high chromium content guaranteeing its corrosion resistance, but it is nickel-free. This feature restores the steel’s magnetic properties without impairing the self-protection process and hence the product’s durability.

THE ExpRESSION OF A CHANGING SOCIETy

Innovation never an end in itself

STAINLESS STEEL: NEW SKIN FOR CONSTRUCTIONS Stainless steel offers the architect products and systems especially designed for building shells and interior design solutions. Within the steel family the architectural choice is increasingly falling on stain-less steel. With its high chrome content (min. 10.5%) this reacts with oxygen to form a fine self-protective surface coating, an excellent defence against corrosion. It is extremely ductile, has high mechanical proper-ties and is environmentally friendly in being non-pollutant and, like all steels, 100% recyclable.

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KARA® is part of the market range of highly corrosion resistant products offering high performance technical characteristics at an extremely competitive price made stable by the fact that the alloy is not subject to nickel-related price fluctuations. For external cladding in architecture exposed to the average aggressive environmental conditions typical of new industrial installations, the KARA® range offers the K36, a steel corresponding to AISI international standard 436: suitable for profiling and transformation, and easily welded by traditional techniques. The excellent mechanical features of the K36 allow the thickness of the resistant section to be reduced thereby decreasing the weight of the entire façade or roof. Thanks to the different finishings available (matte, mirror, etc.) KARA® guarantees high architectonic impact flanked by a flexibility allowing totally free spatial expression with virtually no maintenance costs. Depending on the type of product, KARA® is available in thicknesses ranging from 0.4 mm al 3 mm with a maximum width of 1500 mm. ArcelorMittal’s advisors and technical experts can offer designers guidance on the best choice of steel to satisfy specific needs.

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ARvAL® SOLUTIONSArval is an ArcelorMittal group company specialising in complete systems for façades, roofs, floors, ceilings and inside cladding. Arval solutions are the outcome of new technical and aesthetic research. The architect is guided throughout the whole process from the design phase until the shell is mounted. Arval solutions may be personalised as to materials (stainless steel, pre-painted, galvanised, etc.) or choice of façade system (sandwich panels, coffered, shingles, slatted, brise-soleil, etc.). With their modular basis and ease of assembly, Arval solutions answer all the designer’s needs within a

NEW OppORTUNITIES: THE CONTEMpORARy HORIzONS OF ARCHITECTURE

single system: look, fire resistance, water-proofing, heat and noise comfort. Caïman® is a shingle façade system (the shingle size can be chosen) suitable for buildings with an organic form. It dialogues with the surrounding environment by vibrant light effects that seem to bring the building to life.Mascaret®, a perforated cross-wave section, and ST Lumiere 300®, an embossed round/oblong hole section, are used for fly roofs and façade sun-breakers. They can be mounted horizontal or vertical. With their dynamic look they give the building transparency or filter the sunlight. The coffer systems ST Evolution® are suitable for façade cladding in new or refurbishing operations. Quick and easy to mount and exceptionally flat, they come in units of various shapes to meet the widest range of circumstances. The Insulated Panel Systems comprise two coated profiled steel sheets enclosing a polyurethane or a rock wool insulation. The lightweight and simple to fix insulated panel is a leading product in the cladding and roofing market and provides a comprehensive, practical and economical solution for the renovation or construction of steel buildings. To suit a variety of building applications, Arval offers a wide choice of colours and finishes.

Because every challenge is an opportunity and every solution has its best form

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THE OXyGEN® SySTEMThe Oxygen® system is ArcelorMittal’s latest façade cladding release: 10/10 thick interlocking embossed stainless steel panels with varying size convex and concave motifs that anchor to a mullion and transom structural frame. Easy to install, the Oxygen® panels help speed up the whole façade clad-ding process. Maintenance is also extremely easy: the action of rain ensures normal cleaning, leaving only periodical intervention necessary to elimi-nate organic growth and prevent corrosion due to external factors. The 3-D

aspect of these micro-perforated panels gives the façade a de-structured appearance that shimmers in the light, enhancing the sense of depth. The result is a truly aesthetic architectural façade.Oxygen® modules are made from 10/10 thickness 4301 micro-perforated, coated stainless steel. Each panel has 15 convex and 8 concave spheres, 12 concave semi-spheres along the edges and 4 quarter-spheres at the corners. This ensures continuity of the embossed pattern across the interlock-ing panels. In addition to the alternation of concave and convex hollows, upturned edges and horizontal reinforcement bars increase the transverse inertia of the façade compared to a single, non-undulated surface. This provides maximum stability to the whole system. Oxygen® modules are available in the size 82 cm x 134 cm approx. Horizontal and vertical joint-width space is 7 mm. Installation should be carried out by qualified ArcelorMittal people.

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ARCELORMITTAL CELLULAR BEAMS (ACB®)ACB beams are a lightweight solution to roofing and floors, saving space and ensuring practicality, a fine appearance, flexibility, monetary saving and, being prefabricated, speed of instalment. The process begins with a basic hot-rolled H or I section which is cut down the shaft by a patented tech-nique to obtain two T pieces that are then welded together again. The result is a girder with circular perforations and a greater height and inertia/weight ratio than at the outset. Depending on the design need, one may produce a host of shapes (varying the diameter and spacing of the holes, cur-

vature, etc.), with the hole diameter up to 80% of the final beam height. The spans possible vary with the task required: for roofing, from 10 to 45 m; for floor girders, from 8 to 25 m. Cellular beams enable the final height of a floor structure to be reduced by 25-40 cm, since wiring and other circuits can pass through the beam perforations. There is also a weight-saving of 25-30% over traditional hot-rolled steel sections, which produces an economic saving and greater ease of transportation and assembly.

IS ARCHITECTURE FREEDOM?

Freedom as an expression of light and light as an expression of freedom

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ARCEO: TECHNOLOGICAL AND AESTHETICAL INNOvATIONArceo is an industrial prototype for a vacuum plasma steel coating line, a breakthrough technol-ogy developed as a world first by ArcelorMittal’s Research and Development, that enables to coat steel sheet with extremely fine particles - nanoparticles - and launch new products with innovative properties. With this process steel can be a sensor, a reflector, a source of light, an anti-bacterial or self-cleaning surface, or just simply more aesthetic or endowned with better anti-corrosive proper-ties. Available in a new exclusive range of attractive finishes and colours like gold or champagne,

THE ERA OF NON-STANDARDISATION

Technology at the service of aesthetics

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these products are suited for interior decoration in ceilings, doors, interior walls (Ambient®), in lighting applications in industrial and office buildings (Luminance®) or in building applications like façades and accessories (Duraclean).The vacuum plasma process is respectful of the environment. Arceo does not use solvents or chemical preparations; neither does it generate effluents or gases that require treatment, simply because in a vacuum coating process, all the particles are deposited on the steel.

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SOLANO®

Solano® 30 is a range of organic coated steels specially designed for roof and wall cladding applications in demanding situations, including industrial and coastal environments. They marry solid steel with a protective thermo-plastic coating to create products with longer life and high resistance to the elements. They feature enhanced UV protection, greater corrosion resist-ance - even on cut edges, and an extended range of guarantees, up to

30 years. Solano® is available in a wide range of modern colours and comes in a choice of up to seven different emboss patterns: smooth, leathergrain, grained, medium striped, fine striped, woodgrain, and the distinctive new Solano® logo emboss. To ensure quality of life for end users, all paints on the colour palette are phthalate-free. The size availability is 0.3 to 1.8 mm thick and 600x1550 mm large.

CITIES WITHIN THE MEGACITySafety, durability and protection; a presence for the present and the future

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PRE-PAINTED STEELAs used in the pavilion in commemoration of the 100th anniversary of the city of Esch-Sur-Alzette (Fig.1, 2) by Benedetta Tagliabue, pre-painted steel is a technological, ecological, low-cost product. The galvanised steel sup-port is given two coats of paint: a primer and a top coat. Manufacturing is continuous so that production can be controlled and a high quality of final product achieved in terms of look and economic saving. All these steel lay-

ers compete in excellence of mechanical properties and resistance to cor-rosion, as well as being resistant to scoring and fire, elastic, malleable and workable. Such steels are used in the building trade for lining inside surfaces (false ceilings, doors, etc.) or for outside jobs (like sandwich panels, façade cladding, etc.). The pre-painted steels manufactured by the ArcelorMittal group come in a range of paint coatings varying according to use (final sheet thickness from 0.17 to 3 mm), and are available in sheet or strip form, from 600 to 1 850 mm wide.

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ARSOLAR®: INNOvATIvE HIGH EFFICIENCy ROOFING Arsolar® is a high performance modular panel system devised by ArcelorMittal for integrated venti-lated photovoltaic roofing. The Arsolar® system has the dual function of metallic roofing for buildings, and generating electricity directly from solar radiation. The pollution-free plentiful supply of sun-produced energy on the earth varies in relation to latitude. Seven insolation areas have been identified in Europe with the surface and slope features required for the installation of photovoltaic panels. The ideal working conditions for the Arsolar® system require the panels to be assembled on a surface with at least 10% slope, bearing in mind that the optimal slope angle is around 60° or 30°. A 25mq surface of Arsolar® roofing (3000 Wc) will avoid atmospheric

emissions of 30 tons of CO2, corresponding to the pollution produced by a car running a distance of 160,000 Km.To maximize the potential of Arsolar® and ensure the success of the photovoltaic project ArcelorMittal offers targeted support to planners, construction firms, building workers and end users, guaranteeing an energy production over 25 years equal to 80% of the nominal power, with the metallic roofing sup-port covered by a 20 year guarantee. As a combined photovoltaic roofing system Arsolar® comes under the government-funded incentives for the production of clean electricity.ArcelorMittal offers a full range of parts and accessories to guarantee a full dry-bonded multilayer roofing system including heat insulation. The Arsolar® modules can be supported by corrugated or sheet steel boxes fixed to purlins between which a layer of vapour-proof rock wool fibre insulation is inserted. Alternatively, Traditherm® 120 mm thick load-bearing insulated steel sandwich panels can be used. In both cases the Arsolar® modules will rest on special bored omega spacers on the sup-

WHy THE FUTURE NEEDS ME?Respect for the environment requires efficiency and energy saving

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ALUZINC®

A steel sheet coated in aluminium and zinc bonding in almost equal parts, and used for roofing and façade shells. The steel provides mechanical resistance, the metal coating both enhances the surface with a bright silvery starred effect and affords excellent resistance to atmospheric corrosion thanks to the combined protective action of aluminium and zinc. Guaranteed for 20 years against holing through corrosion, Aluzinc® preserves its natural colour and brightness. It provides a building with a thermal shield, thanks to its high capacity to reflect heat and light, and is also excellent value for money. Aluzinc® is a carbon steel sheet (EN 10215) coated with an alloy of aluminium (55%), zinc (43.4%) and silicon (1.6%), manufactured by AlcorMittal. It is used in thicknesses of 0.5 - 0.7 mm for roofing and 0.7 - 0.8 for façades. It comes in 700 - 1500 mm wide sheets. Besides the qualities mentioned, it is also abrasion and fire resistant, elastic, malleable, workable and eco-friendly.

port designed to ensure mechanical strength and ventilation. An 8 cm thick air space is required to ensure electricity generation (which would subside with the rise in temperature if the roof were not ventilated), with fixture points in the gutter and outlet on the ridge of the roof.Arsolar® is manufactured in galvanized laminated corrugated steel panels available in three standard colours: white, blue and anthracite. The panel surface taken up by the crystalline silicon photovoltaic cells is 1050x1495 mm for single modules and 1050x2990 mm for double modules and the nominal power per mq is between 65 and 75 Wc.

Editor in ChiefNICOLA LEONARDI

Art Director and Editorial Co-ordinator CARLOTTA ZUCCHINI

Senior EditorsMARCO LEONARDIGERARDO DALL’OCCA DELL’ORSOGIULIANO RE

Managing EditorADRIANA DALL’OCCA DELL’ORSO

Creative DirectorRICCARDO PIETRANTONIO

Special ContributorsLUCY BULLIVANTCRISTINA MOROZZIALESSANDRA ORLANDONILUIGI PRESTINENZA PUGLISIRAYMUND RYAN

CorrespondentsCARLO VITTORIO MATILDI, GREAT BRITAINGRAHAM FORD, NEW ZELANDUGO CAVALLARI, SPAINFELIX FREY, SWITZERLAND SERGIO GHETTI, USAEMILIANO GANDOLFI, THE NETHERLANDS

Special ContributorsArcelorMittal BCSLARA CAPPELLOCHRISTINE ETZENBACHMARTA DZIARNOWSKASILVIA SCALZO

Graphic & EditingGIANFRANCO CESARIGIANLUCA RAIMONDO

Editorial StaffLAURA COCURULLOANGELA MACCHIELISABETTA MADRIGALI FEDERICO MASTRORILLIILARIA MAZZANTISILVIA MONTIALICE POLI

Text EditorsMADDALENA DALLA MURA - ItalianFRANCESCO PAGLIARI - ItalianSTEVIE JOHNSON - EnglishRALPH NISBET - English

Translators Maria Sole Checcoli Maria Rosa CirilloCatherine de CoataudonRossella Fresu RatzingerChristopher John TurnerJohannes Rösing

Advertising and Editorial CoordinatorCOSTANZA DALL’OCCA DELL’ORSO

Distribution ManagerGUGLIELMO BOZZI BONI

AdministrationSERENA PRETI

SubscriptionsILARIA ROSSI

PromotionFEDERICA ANDREINI

Printer for this issueMondadori Printing

PublisherTHE PLANArt & Architecture EditionsCENTAURO srl Edizioni ScientificheVia del Pratello, 840122 Bologna - ItalyTel.+39. 051.227634 Fax +39. 051.220099www.theplan.it

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