[Press Release]

Ancona, Italy. September 22, 2009. WHY, Wally Hermès Yachts, today unveils a revolutionary
approach to cruising in motor yachts with the presentation of a full size model of its first born, an
innovative 58 metre-long 38 metre-wide yacht, in Ancona’s shipyard.

Wally Hermès Yachts: a joint-venture.
WHY is the result of the joint-venture signed in June 2008 between Hermès and Wally, to develop a new type of motor yacht redefining the art of living on the sea. The iconic Parisian house and the iconic Monaco yacht brand formed an equal partnership whereby each company is fully involved in all aspects of the conception and design of each project. Pierre-Alexis Dumas, Artistic Director of Hermès says : “When we met, in autumn 2007, Luca Bassani Antivari, President of Wally had thought about asking Hermès to accessorise the interior of one of his boats. I was impressed by the daring of his projects. My instinct was to get on board with him and go and seek out new territories in yacht design, but I had no interest in speed.”

Luca Bassani Antivari explains: “What I’ve always liked about Hermès, aside from its intrinsic quality, is its audacity and radicalism; its desire to go beyond trends, to make no compromises and to maintain the authenticity of the house. Wally shares the same values, ‘Hermès-on-Land’, ‘Wally-on-Sea’: inevitably our paths had to cross.”

WHY 58×38
The common values of the two brands have led to a first yacht that offers an unparalleled living space at sea. WHY was developed to give life to this concept assembling a team of dedicated talents in design, engineering, and naval architecture.

Then the tried and tested Norwegian Ramform hull characterised by exceptional and unprecedented stability and volume and spotted by Luca Bassani Antivari, revealed itself as the ideal choice to be adapted to the WHY 58×38 project.

Following this unique adaptation, the decks and the interiors were developed in accordance with the fundamental credo of WHY, ‘form-equals-function’. Thus were born other innovations in the world of mega yachts: patios generously flooding the interior with natural light, photovoltaic panels on the glass hull sides, as well as on the roof opening, like Venetian blinds, a 25 metre-long forward end swimming pool, and a 36-metre aft deck beach.
WHY 58×38 offers comfort, privacy, stability, space, independence and sustainability.

Sustainability
“We are very interested in creating a yacht that will have a low environmental impact”, says Pierre-Alexis Dumas. “Its relationship with the sea must be respectful and easy. WHY intends to offer a new way of moving over water by creating an innovative way of managing and recycling its sources and uses of energy.”
“If you want to go totally ecological, it’s only sailing yacht. The reality is that today, 90 % of the market is powerboats, echoes Luca Bassani Antivari. Our aim is to reduce diesel consumption per year and per yacht: 20 to 30 % for propulsion and 40 to 50 % for generation.”

Thanks to its specific hull, WHY 58×38 requires less power at cruising speed than a boat of equal size. Its diesel-electric propulsion is the most efficient motorisation today, and the surface of the photovoltaic panels, almost 900 square metres, covers most of the boat’s auxiliary system needs.

WHY Research and Development plan to optimize this project’s energy consumption by improving the isolation of the yacht and the heat recovery of its engines, and is also investigating the latest wind energy production and wind propulsion system technologies.

In comparison to a yacht of the same size, WHY 58×38 has been conceived to reduce drastically its energy consumption, saving up to 200 tons of diesel per year.
The WHY R & D program includes tank testing for hull stability in the SSPA facilities in Sweden, and the construction of a full-scale mock-up in order to allow the design team to fine tune the living areas correctly in accordance with the hull’s unique shape.

“The WHY 58X38 yacht looks very unfamiliar but it remains on a human scale. Space is the greatest luxury on the sea, but I believe the new luxury will be the time to enjoy it”, concludes Pierre-Alexis Dumas.

Designer : Pierre-Alexis Dumas, Luca Bassani Antivari, Gabriele Pezzini, and MauroSculli

This concept has been driven from the need for zero-pollution, efficient and affordable cars for the future community and enjoying the freedom of a ride. The ATNMBL is designed as a self-driving car with artificial intelligence which arrive to you with just a phone call. The standing-height entrance has an electric sliding glass door and upon entering, you will be asked for your desired destination. The comprehensive and innovative voice recognition system of this vehicle along with a touch screen remote and slide up display, it can offer a wide range of tour planning, detailed performance setting and enjoyable ride sharing.

The overall arrangement of the interior of ATNMBL is very much familiar with conventional living room sitting including side chair, a couch and a low table. Up to seven passengers can sit towards each other and can see outside through large floor-to-ceiling windows on both sides. From outside, this vehicle looks like micro-architecture with a large window, pitched room and asymmetrical shape from every view without any reference to past automobile designs.

A considerable amount of typical car space is blocked with the engine and drive train, while, the mechanical components of ATNMBL are simplified and densely packed, providing more interior space. Each wheel contains electric motors which provide all-wheel drive. The power storing mechanism is located beneath the floor; moreover, alternative solar energy can be obtained from the roof-top solar panels. The front and rear end contains an array of tail lights, headlights and sensors.

Designer : Mike and Maaike via Core77

[Press Release]

DRAGONFLY, A METABOLIC FARM FOR URBAN AGRICULTURE

2009 : 800 MILLION OF URBAN FARMERS FOR RESPONSIBLE ECO-CITIES

The world of fast-food and frozen food is over! The urban keen interest of the beginning of our Century turns toward the garden flat bringing back the countryside in our overcrowded cities fighting from now on for a community urban agriculture able to contribute to the durability of the city and to rethink the food production.

On the roofs, terraces, balconies, in the hollow of the non-built public spaces, in the interior yards and the suspended greenhouses, the eco-warrior aspires to escape from its competitive and consumeristic universe imposed by the laws of the market. He desires to cultivate its immediate landscape so as to better take root in the ground by creating his own ecologic and alimentary biodiversity. The consumer becomes from then on producer and the garden inhabitant !

From the Parisian « worker gardens » to the « community gardens » of New York going though Muscovite « vegetable squares », eight hundred million of urban farmers, i.e. more than one human being out of ten, consume nowadays chlorophyllous products from these cosmopolitan kitchen gardens. These new gardens, aware of the emergency to reduce our fuel consumption and the necessity to modify our behaviour facing the climatic changes, decrease thus their environmental impact and build eco-responsible cities on a community way.

2025 : 5.5 BILLION OF CITY SLICKERS FACING THE FOOD CHALLENGE OF THE 21ST CENTURY

According to the PNUD (Programme of the United Nations for the Development), the worldwide urban population will go from 3.1 billion of inhabitants in 2009 up to 5.5 billion of inhabitants within 2025. Looking for a positive energetic assessment, the contemporary city aims within fifteen years at producing cleanly and intensively more energy than it consumes so as to pack this urban exodus! It develops therefore the urban agriculture to become food self-sufficient by recycling at the same time its liquid waste by phyto-purification, its solid waste in fertilizers by composting and by producing energy by biomass, photovoltaic cells and other renewable energies (thermic solar, photovoltaic solar, wind, tide-turbine energies…).

In order to avoid the asphixiation of the planet and the feeding of its 9 billion of inhabitants within 2050, it deals thus with reinventing the traditional energetic pattern between the city and the countryside between western countries, emerging countries and developing countries. This sums up as following: on the one hand import of natural and food resources, and on the other hand export of waste and pollution. The ecologic city aims at reintegrating the farming function on the urban scale by emphasizing the role of the urban agriculture in the use and the reuse of natural resources and biodegradable waste so as to close the loop of ecologic flows.

The urban agriculture can feed the city without any pesticide or chemical fungicide (whose toxicity is proved on the human being : cancer, sterility…), and make it less food dependant of its backcountry or other regions of the world. Organising the distribution of fresh products in short circuits, that means linked directly with the consumer, the urban agriculture complete thus the traditional agriculture. In addition to the nutritive quality of the produced and consumed food, the urban agriculture is also a growth lever of the urban unemployment market and the local economy. It is used directly as a social link in the conciliation of the primary needs of the newcomers with the challenge of their integration in the life of the city, fighting thus against poverty and exclusion. On the sanitary level, this farm approach presents also an interesting potential for the decontamination of polluted grounds and undergrounds as well as for he purification of the polluted atmosphere in CO2.

Due to the fuel crisis and climatical change, the rural agriculture of the western countries must answer to the worldwide food crisis of the developing countries and mainly Africa. Its role is from now on to produce (with an increase estimated of 60% within 2050) all the foodstuffs transportable by boat such as cereals or corn. This is based on the evolution of the science and the most advanced biotechnologies. In addition to this nutritious role, the rural agriculture is newly challenged to recycle its own culture rebus for the green chemistry in order to produce the bio fuel called “second generation fuel” using the energy of non-consumable materials from the plants, that means fibres such as celluloses.

DRAGONFLY, A NOURISHING VERTICALY CULTIVATED CENTRAL PARK

The architecture has to be in the service of this new agriculture and to design this new social desire in this context of ecologic mutation and food autonomy! The Dragonfly project suggests therefore building a prototype of urban farm offering around a mixed programme of housing, offices and laboratories in ecological engineering, farming spaces which are vertically laid out in several floors and partly cultivated by its own inhabitants. This vertical farm sets up all the sustainable applications in organic agriculture based on the intensive production varied according to the rhythm of the seasons. This nourishing agriculture is furthermore in favour of the reuse of biodegradable waste and the keeping of energy and renewable resources for a planning of ecosystemic densification.

Floor by floor, the tower superposes not only stock farming ensuring the production of meat, milk, poultry and eggs but also farming grounds, true biological reactors continuously regenerated with organic humus. It diversifies the cultivated varieties to avoid the washing of stratums of soft substratum. Thus, the cultures succeed one another vertically according to their agronomical ability to provide some elements of the ground between the essences that are sowed and harvested. The tower, true living organism, becomes thus metabolic and self-sufficient in water, energy, and bio-fertilizing. Nothing is lost; everything is recyclable to a continuous auto-feeding!

A BIONIC AND ENERGETICALLY SELF-SUFFICIENT ARCHITECTURE
The architecture of Dragonfly prototype suggests reinventing the vertical building (that outlined the urbanistic booming of New York City since the 19th Century) as structurally and functionally as ecologically and energetically.

To ensure the social diversity and a permanent life cycle (24h/24) in the tower, the mixed programmation is mainly laid out around two poles of housing and work places. Around housings, offices and research laboratories as well as the most private to the most public agricultural and leisure spaces are designed in gardens, kitchen gardens, orchards, meadows, rice fields, farms and suspended fields. The distribution of flows is made around a true safe spine spreading in loop the numerous elevators, the goods elevators and stair wells serving all the levels by separating simultaneously the inputs and the outputs recycled from plants, animals and human beings.

Architecturally, the functional organisation is represented by two oblong towers symetrically arranged in pair around a huge climatic greenhouse that links them and deploys itself between two crystalline wings. These very light wings in glass and steel retake the loads of the building and are directly inspired from the structure of the dragonfly wings coming from the family of “Odonata Anisoptera” whose transparent membrane is very finely nervured. Two inhabited rings buttress around these wings. Their organically chiselled exo-structure accommodates the inter-climatic spaces that receive the agrarian cultures. They buttress.

The whole set forms «double layer» architecture in bee nest mesh that exploits the solar passive energy at its maximum level, by accumulating the warm air in the winter in the thickness of the exo-structure, and by cooling the atmosphere by natural ventilation and by evapo-perpiration of the plants in the summer. Protecting thus the cultures from climatic changes in New York (from -25.5°C in the winter to +41°C in the summer), these plug spaces are useful to reflect on the agriculture not anymore in terms of surface area but really in terms of volume. Actually, whereas grounds nourish orchards, each wall and each ceiling are metamorphosed into three-dimensional kitchen gardens. The interior frontages of the housing and offices throw towards the skyline of New York the cantilever of their hydrophonic balconies with hexagonal section thanks to what it multiplies the culture layers by floors. The vegetation abounds, the earth is swarming of insects and animals are freely brought up in holding tanks by urban consumers with low income. The architecture becomes eatable!

Designer : Vincent Callebaut Architect

[Press Release]
The future headquarters of Antwerp Port Authority will be designed by the London firm of Zaha Hadid Architects. The choice of architect was made at the Port Authority board meeting on 13 January. The new Port House will occupy the site of the technical services building on quay 63.

The Port Authority aims to make its operations more efficient by centralising the administrative and technical services which are now divided between the Port House and quay 63. The new headquarters will also solve the pressing shortage of workspace in the present Port House on the Entrepot quay. Some 500 people will be able to move into the new building when it is completed in 2013.

In addition to offering better accommodation, the future Port House will contribute to further development and upgrading of the part of the city known as Het Eilandje. The brief for the new building specified that it had to symbolise the Port of Antwerp as a world port and economic driver of Flanders and the Antwerp area. It also had to be built according to the principles of sustainability.

In selecting the architect it was decided to use the Open Call for Tender procedure of the Flemish Government Architect’s team. The procedure was launched in December 2007, and nearly 100 architectural firms responded. A shortlist of five firms was chosen:

• Consortium of TV A2O Architecten / Atelier Kempe Thill / Marcq & Roba / BEG from Hassel, Belgium
• Vier Arquitectos from La Coruña, Spain
• Xaveer De Geyter Architects from Brussels
• Zaha Hadid Architects from London
• Rapp + Rapp from Rotterdam

The jury/board of directors finally opted for the proposal by Zaha Hadid Architects, because:

• The design preserves as much as possible of the dignity of the present building as a monument, adding a new object to the site;
• The board and its advisors had confidence in a team such as Zaha Hadid Architects being able to further develop the project so as to achieve a high quality end result that can act as a “shop window” for the Port Authority.

The estimated construction cost is 31.5 million euros excluding VAT and architect’s fees. This includes all the work for an office building with around 12,000 m² of floorspace for around 500 people, together with underground parking for 300 or so cars.

The new building fits in with the Port Authority’s future-oriented investment policy. At the same board meeting it was also decided to purchase four tugs as part of a renewal series of nine. And of course there will be further investments in infrastructure for expansion and renovation of the port. The various Flemish port authorities are currently holding discussions with the Flemish Government about financing for basic port infrastructure.
The new Port House forms part of a programme of improvements to the Port Authority’s own buildings. In addition to various renovation and new construction work that has already been carried out, a public call for tender has been issued for the new VTS (Vehicle Traffic Service) building beside the Zandvliet lock.

Design proposal

The design team from Zaha Hadid Architects proposed a very dynamic architecture that strikes up a dialogue with the Oosterweel road link, with the Lange Wapper bridge forming a backdrop to the New Port House. With its unique design, its facade architecture and its height of 46 metres, the new Port Authority will be an iconic building, visible from many different directions.

The concept is a free interpretation of a beam-shaped volume raised above the existing fire brigade building and supported on three sculptured concrete pillars housing the stairs and lifts. Two of the pillars are situated on the covered inner courtyard of the firehouse, while the third is located beside an external support point and consists of a panoramic lift shaft.
The new volume is oriented North-South parallel to the Kattendijk dock. The head of the building on the South side is a frame that looks towards the city and clearly marks the start of the port area.
The outside walls are made up of glass triangles, some transparent and some reflecting. These do not all lie in the same plane but are rotated slightly with respect to one another, creating an attractive reflecting play of incoming light in a reference to Antwerp’s diamond industry.

The present firehouse will be kept free of building all around, so that the four outside walls will be fully respected. As for the arrangement of the inside spaces, consultations will be held with Flanders Real Estate Heritage and the Monuments department of the City of Antwerp to determine whether open-plan offices (as laid down in the schedule of requirements) are possible, either partly of throughout.

The inner courtyard will be roofed over at the height of the second story so as to create an air-conditioned inside space. This central entrance hall will be considered as a semi-public space, with various enquiry desks (Personnel department, Harbourmaster’s Office, Planning Permission & Environment Permit office and Port Dues payment desk) integrated in the inside wall portals.

A sculptural, sloping roof unites an underground lobby with the covered inner court. Access to the underground car park is an important aspect of the overall concept, with the loading & unloading bays and the refuse handling facilities also located here. The car park has space for 300 or so cars and consists of a single underground level. The design of the square can be arranged so that daylight is allowed to enter. The above-ground layout forms part of a design project that is being carried out in consultation with the city departments responsible, with the main imperative being to “preserve the visual quality of the outside spaces in the Het Eilandje area.”

The open plan offices are indeed very open, so that office staff will have a great impression of space with a view along the various outside walls. The concept for the open plan office also allows for small areas in which to hold meetings, along with separate study offices.

Designer : Zaha Hadid Architects via Bustler

Text from Yiftach :

SeaO2 is an experimental ecological housing project. The project poses an alternative to current plans for Tel Aviv North West coastal district. SeaO2 demonstrates vast use of cutting edge computer software, some being used in the aerospace industry, in order to improve building performance and to ensure the existence of a sustainable urban environment with a minimal ecological footprint. The project final form is a consequence of a scientific approach that calculates numerous of elements: the sun orbit, wind conditions, maximum open scenic views, very high density and more, all in a free-form organic manner.

Advanced Computer Simulations ensure the project’s credibility. The project’s unique morphology enables: optimized solar reception for heating at winter time, self-shadowing and solar reception for electricity generation at summer time, natural lighting, optimized natural ventilation, open looks to the natural coastal environment, public green spaces, rain collection and more. Various passive mechanical systems complement the basic morphology, enable better performance and create an energy efficient, environmentally friendly housing project

Designer : Yiftach Ben Meir

[PRESS RELEASE]
GTbyCITROËN
CROSS OVER TO THE VIRTUAL WORLDWith GTbyCITROËN, a show-car presented at the 2008 Paris Motor Show, Citroën becomes the first vehicle manufacturer to cross over to the virtual worlds: An original take on a road car, GTbyCITROËN is a style replica of a vehicle from the digital world. The car is the result of a partnership between Citroën and Polyphony, designer of the driving simulation game Gran Turismo 5 on Playstation 3. Already shipped in more than 50 million units worldwide, Gran Turismo is renowned for its quality, design and realism.
In the game, GTbyCITROËN features an electric drive train powered by a fuel cell with no pollutant emissions. It is a car designed to square up to the strongest competition.

“GTbyCITROËN shows how the worlds of virtual and real-life motoring can join together to create a truly innovative partnership. We were delighted that Citroen approached us and gave us the opportunity to combine our creative strengths to build this very special concept car. To see the car take shape in game and then for real has been a truly unique experience as our work normally stays in the digital world. I just hope I can get behind the wheel of GTbyCITROËN and drive it on a real race track!” – Kazanori Yamauchi, President of Polyphony Digital Inc and creator of Gran Turismo

Performance first and foremost
GTbyCITROËN is geared to the world of motor racing, with its dynamic styling, sculpted lines and sharp graphics. The rear end is oversized, made exaggeratedly long in order to create an effect of retinal persistence. The idea is to make the concept car even faster visually. The white-to-grey gradation on the body side further underlines this impression of continuous movement.

Top-level driving
The cabin of GTbyCITROËN, designed to seat two adults, expresses the grand touring vision behind this show-car. The on-board ambience allies premium, extensively worked materials with a more high-tech effect for the driving position.

The layout of the low driving position was dictated by driving pleasure. The aim is for the driver to be able to concentrate on the road, assisted by a head-up display clearly displaying driving information.

RACING SPIRIT BY CITROËN

Power and flowing lines
The design of GTbyCITROËN reflects a quest for optimal aerodynamic design. The show-car is a vehicle of flowing, taut lines, stretched to the extreme. The cleanly drawn sides, ribbed at the top, and the pearlescent shade of the bodywork enhance the vehicle’s sleekly muscled looks.

The determined look of the front end is enhanced by wide air intakes and clear-cut horizontal headlamps. The headlamps feature penetrating blue LEDs in order to light the road effectively and keep rivals at a respectful distance! The chrome chevrons on the smooth bonnet express the Marque’s identity.

The carbon rearview mirrors on their finely profiled supports appear to be suspended as if to cleave the air, giving GTbyCITROËN an excellent on-road stance.

The large wraparound windscreen flows seamlessly into the roof and on into the rear mobile airfoil with its exaggeratedly long shape. The fast-flowing lines create the impression of a car in perpetual movement. The whole body expresses performance and continuous movement.

GTbyCITROËN also expresses strength and power through generous volumes, (length: 4.960m, 2.080m and height: 1.090m) underlined by strongly marked wheel arches. The diamond-effect 21-inch aluminium wheels enhance the car’s sporty personality.

Exceptional handling
The interior design confirms the vehicle’s dynamic and powerful style. The interior of GTbyCITROËN, designed to seat a driver and co-driver, expresses the racing spirit of this concept. The on-board ambience allies rich, premium, extensively worked materials with a more high-tech effect for the driving position, inspired by the world of motorsports.

Looking beyond the spectacular visual effect, the gullwing opening of the two doors gives GTbyCITROËN a level of accessibility rarely seen on this type of vehicle. The driver and co-driver can therefore slip into their seats and get out on the track as quickly as possible.

The dark interior of this show-car is a surprise, compared with the light bodywork. Upholstered in black leather with subtle touches of rare materials such as copper and steel, the cabin of GTbyCITROËN is distinctly sporty.
Two padded racing seats upholstered in dark leather, each fitted with a four-point harness, enfold the driver and passenger for exceptional driving sensations. Placed low down to highlight the impression of speed, the elegant seats are a perfect fit with the rest of the interior.The top-stitched leather of the door panels and floor adds to the opulence of the interior.

The driving position expresses the spirit of competition. The design was objectively guided by the motivation to win.

The dashboard, with its clean uncluttered design, flows into the receding lines of an imposing copper sculpture. The thrusting modern lines of the sculpture become the central tunnel of the vehicle, illustrating the power of GTbyCITROËN and appearing to catalyse its strength.

Created in a twist of this same copper sculpture, the leather-and-steel steering wheel also reflects the sporting spirit of the cabin.

To promote maximum concentration, the driver of GTbyCITROËN has a head-up display for driving information. Using red LEDs, this system projects key driving information – such as speed and navigation data – onto the windscreen in the driver’s direct line of vision.

The head-up display makes a significant contribution to safety with its direct read-out. Drivers assimilate data more quickly and do not have to look away from the road.

Aerodynamics optimised to combine performance and driving sensations
Special emphasis was placed on the aerodynamics and flowing design of GTbyCITROËN, these being key Citroën values. The objective was to enhance the vehicle’s dynamics and to create exceptional driving sensations.

Looking beyond its taut, dynamic lines, this racing car features innovative equipment such as enlarged air intakes at the front, a flat underside, and a mobile spoiler and air diffuser at the rear. All these features play an active role in reducing lift and – above all – drag, to pin the car to the ground.

With its flowing lines, original architecture and its use – in the game – of what is potentially the best environmental technology, GTbyCITROËN embodies the sporting spirit as seen by Citroën and underlines the Marque’s ambitions to meet new challenges.

Designer : Zaha Hadid Architects via Dezeen

Text from the designer :

Natura Levo is a small wind, vertical axis wind turbine. It is a 66″ tall turbine that contains two non-traditional blades that can catch wind from any direction. These blades are fastened within a unique steel component which also houses the tapered bearings allowing the blades to spin with little friction. The center axis is a beautifully formed stationary shape that mounts to existing architecture. The intended architecture can be anything ranging from a telephone pole, to an old chimney mount, to a flag pole in a residential back yard. Natura Levo is intended to harness energy from a renewable energy source while co-existing with its natural surroundings. Natura Levo should be so beautiful that it raises awareness of natural energy by admiration of its design.

Natura Levo is made primarily of Novomer plastic, with necessary steel bearings, adjustable cylinder mount, and small housings. The steel components are machined, and with the exception of the housings, these are standard forms. The remaining steel pieces would be machined in 3 separate entities and welded together. The axis is Novomer and injection blow molded; the blades are a bit more involved. They would be formed in 4 pieces and snapped together. The nature of the rotation would strengthen the fastened segments by using the natural force. These 4 pieces would be injection molded.

Designer : Laura Sink

Capca is space-saving car to serve as an alternative to public and private city transport. Capca vehicles are environment-friendly. Their parkings are innovative, compact and attractive. They can function as recharging stations, solar energy storage batteries and oxygen generators (optionally). Its design is inspired by nature: you can observe clear outlines of petals, shells, flowers, animals and insects as well as medieval knightly armor.

Technical Features :
The electro-engines are located in the back wheels. The car glasses are made of transparent solar batteries and in addition there is a transparent monitor built into the windscreen. The car is equipped with sensors and panoramic view cameras, with navigation and auto-parking systems. It’s important that wheel-engines are shifted together when parked, that will make the back of the car smaller. There are two accumulators in the car: the first is for a chassis and the second is for electronics.

The maximum speed of the vehicle is 90 km/h, fuel distance at one battery charge is approximately 180 km, full charge time from solar batteries is approximately 10 hours under average sun activity. Vehicle dimensions: length 2230 mm, width 1590 mm, height 1530 mm. Wheel base: 1540 mm longways, 1270 mm edgewise.

Target Group :
Large city residents, large companies, recreation centers, amusement parks, universities and public offices.

Designer : Anatoly Shikhov

The Public represents a radical gesture for community architecture, born from the conviction that art and architecture can be catalysts for regeneration and renewal. On five principal levels, the building is intended to give great scope to exhibition designers, artists, educators and users of all kinds, while encouraging and challenging all users to work in innovative ways. The Public is intended to inspire new ideas from its creative users rather than simply make way for them. The building itself is a statement of its creators’ belief in art, in the broadest sense, as a means to empower communities and individuals, and to permeate lives in surprising and beneficial ways.

Among its many functions, The Public will host exhibitions of local and international interest, exploring new kinds of visual art, by new kinds of artists, for diverse audiences. It will be a centre for people in the community to take part in art projects, and to engage in lifelong learning in a wide range of skills and subjects, with IT and digital arts given special prominence. There will be events, performances, art, dance and drama workshops, conferences, seminars and meetings, with spaces specially designed to accommodate them.

Contained within a simple rectilinear form, The Public was conceived as a ‘Box of Delights’ offering a wide variety of spaces, forms, angles, curves, surfaces, vistas and atmospheres.

The 113m x 21m x 22m box envelope of the building is punctured by a scattering of ‘jelly-bean’ shaped windows that pierce the sides of the aluminium cladding. Those approaching the building are able to glimpse its interior through these openings and through a glazed ’skirt’ at ground level on which the rectangular form sits.

Inside, simplicity of form gives way to complexity: rugged, multi-faceted or curved forms appear to balloon into the space at random, sitting on, or suspended from a table structure — a wandering, large-scale ramp links the spaces. These forms are containers for the many different functions in the building. There are, for example, ‘pods’ for displaying art, as well as a huge ’sock’ containing two large galleries; a ‘ramp’ contains a major proportion of the displays; an events space ‘rock’; and a WC ‘pebble’. At the top of the building, suspended from the roof, a series of ‘lily-pads’ — dish-shaped floors with brightly colored interiors — house lettable workspaces.

Designer : Will Alsop via Dezeen