We are currently looking for an architect (6-12 months experience in housing in France), an intern in architecture and direction and development assistant (experience in public tenders, or interest to learn required). If you are interested and your profile matches, thank you to send us an email with your CV and portfolio to firstname.lastname@example.org specifying in the subject for which position you are applying.
The image of the building is generated by the superposition of two complementary layers, each responding to a specific need. Outside, perforated aluminum panels at double height reduce the scale of the architecture and serve as sunscreen. Inside, a curtain wall façade meets the thermal needs and maximizes the natural light supply.
Great news! Our office has been awarded with the European Architecture and Design Award 40 Under 40!
Forty architects and designers were selected this year by the jury from across fourteen nations: Austria, France, United Kingdom, Greece, Germany, Hungary, Italy, Latvia, Portugal, Netherlands, Spain, Sweden, Switzerland and Turkey.
This year's awarded Europe 40 Under 40," states Christian Narkiewicz-Laine, Museum President, The Chicago Athenaeum, "are some of the brightest and most progressive architects and designers ever selected in this program over the years. Their work is highly innovative, densely imaginative, and full of a new spirit that characterizes European design today."
Congratulation to all other awarded teams!
-Samuel Gonçalves, Summary-Samuel Gonçalves, (Portugal)
-Gian Luca Gaudenzi, NZI ARCHITECTES, (France)
-Louis Tequi, ATELIER TEQUI ARCHITECTES (France)
-Fanny Landeau, ATELIER 56S (France)
-Benjamin Bore, Julien Perraud, Thomas Durand, Raum (France)
-Jean-Louis Le Didier, BAST, (France)
-Sven Matt, Innauer Matt Architekten, (Austria)
-Alexandros Kitriniaris, KAAF-Kitriniaris Associates Arch, (Greece)
-Thanasis Polyzoidis, Topio7, (Greece)
-Je Ahn, Studio Weave, (United Kingdom)
-Jose Cadilhe, diONISO LAB, (Portugal)
-Isabelle Buzzo, Buzzo Spinelli Architecture,(France)
-Lina Lagerstrom, SEPTEMBRE, (Sweden)
-Gabor Fabian, arkt studio, (Hungary)
-Maelle Tessier, Tact architectes, (France)
-Lina Ghotmeh, Lina Ghotmeh Architecture, (France)
-Guillermo Reynes, Gras Architectos, (Spain)
-Christoph Hesse, Christoph Hesse Architects, (Germany)
-Augustin Fausheur, Augustin Faucheur Architecture & Urbanism, (France)
-Aristides Dallas, AD Architects, (Greece)
-Melike Altinisik, MELIKE ALTINISIK ARCHITECTS, (Turkey)
-Andrea Guazzieri Valerio Ciotola, Raul Forsoni, GFC, (Italy/France)
-Clement Devignes, TAG Architects, (France)
-Juan Gonzalez, Juan Gonzalez Architekten GmBH, (Switzerland/Spain)
-Francois Guinaudeau, TITAN, (France)
-Jorge Cheng, Lorena Franco de Souza Ferreyra, Cheng Franco Architectos, (United Kingdom)
Andrea Guazzieri, together with Umberto Napolitano, will be one of the two tutors of Diploma 5 at AA School in London.
This year Diploma 5 will focus on Pairs, questioning the relation between form, city and density.
“The urban fabric of Paris and its buildings provide a powerful source of inspiration for the design of such a tool as – taking both population and employment into account – the city remains one of the top five cities in the world in terms of human density. Working within such a complex cityscape, we will ground our efforts in the thinking of urban planner Baron Georges-Eugène Haussmann, who was appointed a Prefect of the Seine department, 1853–70, to engage the intricate relationship between change and consistency demanded by an architectural project. Haussmann reformed the foundations of Paris to accommodate the demands of nineteenth century modernisation. If we consider the size of the urban fabric involved (75 per cent of the built environment) and the speed of the works (less than 20 years), we can almost consider Haussmann’s Paris a planned and designed city project all of its own.
With an eye on today, one can decipher the properties of Haussmann’s urban intervention through a process of classification and comparative analysis. At each level – and according to each component – the urban fabric of Haussmann’s Paris expresses a set of characteristics that guarantee several fundamental balances: density and viability, permanence and resilience, identity and universality, exceptionalism and inclusiveness. This unit will study these features based on the experiences that students will draw from housing projects in Paris. Aiming to consider the individual architectural project as part of a larger composition, students will begin with ‘a real framework’ – looking to planning regulations, accessibility requirements and fire-safety regulations for the site – to learn how to find freedom in this very constrained system.”
For the third time, Raul Forsoni will attend core 1.1 at Fontys Academy in Tilburg, NL.
Bodies Space and Surface.
"The course explores the notion of surface and its relation to the body and space.
Light and shadow, movements and obstructions are investigated through the studies of surface qualities.
At different scale whether wrapping bodies, spaces or buildings, the permeability and rigidity of envelopes encourage or obstruct movements and actions."
If on one hand, the major infrastructures such as highways, railways and the canal has projected Pantin into modernity, on the other, they constituted the major obstacle for improvement. That is, our masterplan investigates three main principles: a compact and fair density, porosity and a recognizable identity.
Compactness optimizes the use of land, allows activities to be regrouped around the housing blocks liberating land in order to create small gardens fighting with the grey of concrete which commonly predominates in suburban contexts. The Second principle is Porosity, the fundamental characteristic of the adaptable and sustainable city. It is a principle that only manifests itself in time; an invisible infrastructure that adapts to every change of the city and which collects all the voids that make up the urban fabric. The third principle is recognizability, or the search for identity. It derives from porosity, and it starts from the idea that the image of a city is related to its form and proportions.
In order to achieve those goals, our project establishes an urban alphabet which defines the criteria of the adaptable city and which provide the greatest flexibility and reversibility to the architectural spaces. The alphabet contains measures and pieces that cohabit each other and which guarantee an almost infinite number of possibilities to the development of the city.
Thus, the project develops as a succession of atmospheres, views, lights, and successive modifications, which allow individuals to feel unique and, at the same time, part of a whole. This is possible thanks to our vision that looks at Pantin as a vast system of interdependent units.
The offices are organized around 5 double-height spaces that can take on different functions as needed: meeting rooms, exhibition spaces, private areas or places to relax.
These spaces are the real living places of the building. Visible from the inside and the outside, these spaces will be the showcase of the company’s activity.
During the day, on anodized aluminum facades, the reflections of the colors of the environment prevail over the perforations of the panels, defining the pure form of the building.
At night the game is reversed: the light of the trays makes the facade permeable and transparent. It reveals the inner life, as well as the organization and character of the architecture.
The urban environment is an ecosystem of memories and relationships, it may happen that such balance suddenly disappears and cities, built in thousands of years, suddenly change. With the demolition of the Hotel Giorgione, the system of public spaces has been enriched with a panoramic view revealing the surrounding valleys and the remains of the Norman Castle. The entire program is enclosed in a compact volume that elects the landscape as the fourth front for the creation of a new panoramic square.
The accesses to the core of the apartments are placed inside the courtyards; in this way, a physical interaction between the dwellers is encouraged. Communal terraces shared by the dwellers of a single block at the first floors promote a second scale of interactions. Reduced sizes of the courtyards, together with the increased number of facades and the presence of balconies for each apartment, make a continues visual interaction among the dwellers. This creates a sense of security and it is at the base for a first “get to know each other”.
The project proceeds by successive subtractions: defines the voids that generate the volumes and empties them inside until they become permeable.
The geometric design of the façade, marked only by structural elements and glass walls, contributes to lighten up the building mass.
A constant subtraction of the mass in order to reduce the obstruction towards the outside view of the surrounding territory.
A large internal staircase connects the two levels of the city topography: Via d’Afflitto and Piazza San Francesco. conceiving the the hall of the school on two levels, a vertical promenade takes visitors up to the square and through the school until the panoramic roof.
The roof of the building will host a didactic green garden and will be the most beautiful panoramic terrace of Ariano.
The Semiotic of a housing building is inevitably tied to the window and balcony: the former, a symbol of the domestic dimension; the latter, unnatural extension of living toward the outside. The alternation of fixed and sliding panels, constitutes the basic rhythm of the building, giving unity and rigor. The domestic dimension will be created by people themselves. By the daily gesture of opening and closing the sliding panels, people will randomly animate the façade.
Our project proposes an intervention in two phases. The first has purified the superfluous by exposing the structure. The successive phase remodels the spaces: a project of architecture and interior that promotes a new reading of the spaces and which recovers, in part, the old organization of the Roman baths.