Project: Brussels Airport Connector
Architect: UNStudio
Ben van Berkel, Gerard Loozekoot with Wesley Lanckriet and Joerg Petri, Maud van Hees, Milena Stopic, Perrine Planché, Deepak Jawahar, Hans Kooij, Benjamin Moore.
Location: Brussels, Belgium
Client: The Brussels Airport Company NV
Building surface: 23,182m2
Programme: Connector building between the Terminal and Pier A
Status: Competition entry
Local architect: M. & J-M. Jaspers-J. Eyers & Partners
Structural advisors: Ney+Partners and Technum-Tractebel Engineering
Visuals: MIR and Moka-Studio

The design for the Brussels Airport Connector Building focuses on providing a highly efficient, flexible infrastructural element that connects to and negotiates the existing airport architecture. The connector is part of the future ambition of the Brussels Airport to create a European hub in Brussels. The design approach ensures cohesive functioning of the three buildings, with the Connector Building establishing a seamless connection between the two contrasting identities of the terminal and Pier A, whilst simultaneously creating its own new identity.

The Connector incorporates logistical efficiency in handling passenger flows, security and operational processes. Additionally, opportunities for commercial activity are maximised with the newly expanded, double-storey commercial area of the Connector, creating a fully-integrated retail zone as the main programmatic spine. The post-screening area with fast duty-free shopping and a horizontal organisation gradually morphs into a double-height central plaza housing the main cafe, from where the high-end boutique stores begin. Surrounding the central plaza is the elevated Cockpit – the highest occupiable point of the Connector with a light cafe boasting the best views of the bustling plaza and shopping area below, as well as the fleeting fields of airplanes outside.

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BIG (Bjarke Ingels Group), Martha Schwartz Landscape, Buro Happold , Speirs & Major, Lutzenberger & Lutzenberger, and Global Cultural Asset Management are today announced as the winning team of the international design competition for a new 27.000 m2 cultural complex in Albania, consisting of a Mosque, an Islamic Centre, and a Museum of Religious Harmony.

The capital Tirana is undergoing an urban transformation which includes the restoration and refurbishment of existing buildings, the construction of a series of new public and private urban structures, and the complete reconceptualization of Scanderbeg Square. This important square is the site of the new cultural complex that will consist of a Mosque, an Islamic Centre, and a Museum of Religious Harmony.

Albania is the crossroads of three major religions: Orthodox Christianity; Catholicism; and Islam. With the recent completion of two new churches, all three religions will now have new places of worship in the heart of Tirana. The complex will not only serve the Muslim community of the city and surrounding areas, but will educate the public about Islamic values and serve as a beacon for religious tolerance.

BIG’s winning entry was selected out of five finalists, including Spanish Architect Andreas Perea Ortega, Architecture Studio from France, Dutch SeARCH and London-based Zaha Hadid.

”The winning proposal was chosen for its ability to create an inviting public space flexible enough to accommodate daily users and large religious events, while harmonically connecting with the Scanderbeg square, the city of Tirana and its citizens across different religions. Additionally the project shines through its beautiful garden surrounding the new Mosque and Center of Islamic Culture which symbolically features the rich vegetation described in Islamic literature. Finally the team’s awareness of the economic aspects of this important development will contribute to a successful realization of this project.” Mayor of Tirana, Edi Rama.

The buildings’ forms emerge from two intersecting axes and formal requirements: the city grid of Tirana which calls for the proper framing of the square and a coherent urban identity, and orientation of the Mosque’s main wall towards Mecca. BIG’s proposal incorporates Tirana’s grid by maintaining the street wall and eaves line, yet rotates the ground floor so both the Mosque and the plaza face the holy city of Islam. This transformation also opens up a series of plazas—two minor ones on the sides of the Mosque and a major plaza with a minaret in front—which are semi-covered and serve as an urban extension of the place of worship. By turning the mosque inside out and bringing the program and qualities of the Mosque to a public arena, the religion becomes inclusive and inviting, and the cool shaded urban space can be shared by all.

“This project is very significant for us for two reasons: Firstly it is a privilege to contribute to the ambitious rejuvenation of Tirana City – especially since it is happening not by the random accumulation of singular monuments – but rather in accordance with a careful and considerate holistic master plan. Secondly and perhaps most importantly –religious tolerance is one of our greatest challenges today– politically, culturally and even urbanistically. With the construction of the New Mosque of Tirana, The Islamic Center and The Museum of Religious Harmony – Tirana will reestablish the equilibrium by adding a mosque to the newly completed Orthodox and Catholic Cathedrals – making Tirana an example for the rest of the world as a global capital of religious harmony”, Bjarke Ingels, Founding Partner of BIG.

The mosque can accommodate up to 1,000 people performing their daily prayers. Through the unique layout of courtyards and public space, the mosque can also expand to accommodate larger groups of 5,000 on Fridays and up to 10,000 on special holy days. The facade with the multitude of rational, rectangular windows finds its inspiration in Islamic mashrabiya screens, which provide shading and privacy while still allowing views out. The light qualities of the mosque will change dramatically throughout the day as the light washes across the curved facades.

“The alignment towards Mecca solves the dilemma inherent in the master plan – in its triangular layout the mosque was somehow tugged in the corner – now it sits at the end of the plaza – framed by its two neighbors. The resultant architecture evokes the curved domes and arches of traditional Islamic architecture – for both the mosque itself and the semi-domed spaces around it”, Thomas Christoffersen, Partner-in-Charge, BIG.

The design also includes The Quran Gardens containing all of the plants mentioned in the Quran in the same amount as the number of times they appear in the holy scripture.

Project: “A Mosque for All” New Mosque, Islamic Cultural Center, and Museum of Religious Harmony
Partner-in-Charge: Bjarke Ingels, Thomas Christoffersen
Project Leader: Leon Rost
Project Team: Marcella Martinez, Se Yoon Park, Alessandro Ronfini, Daniel Kidd, Julian Nin Liang, Erick Kristanto, Ho Kyung Lee
Type: Invited Competition
Client: Municipality of Tirana, Albanian Muslim Community
Collaborators: Martha Schwartz Landscape, Buro Happold , Speirs & Major, Lutzenberger & Lutzenberger, and Global Cultural Asset Management
Size: 27,000 m2
Location: Tirana, Albania
Status: 1st Prize
Date: May 2nd 2011
Renders: Courtesy BIG

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Project: West 57
Architect: BIG Bjarke Ingels Group
Partner in Charge: Bjarke Ingels
Location: Manhattan, New York, USA
Project Leader: Beat Schenk
Project Architect: Sören Grünert
Project Team: Thomas Christoffersen, Celine Jeanne, Daniel Sundlin, Alessandro Ronfini, Aleksander Tokarz, Alessio Valmori, Alvaro Garcia Mendive, Felicia Guldberg, Gabrielle Nadeau, Ho Kyung Lee, Julian Liang, Julianne Gola, Lucian Racovitan, Marcela Martinez, Maria Nikolova, Minjae Kim, Mitesh Dixit, Nicklas Rasch, Riccardo Mariano, Stanley Lung, Steffan Heath, Thilani Rajarathna, Xu Li
Collaborators:
Architect of Record: SLCE Architects
Landscape Architects: Starr Whitehouse
Structural: Thornton Tomasetti
MEP: Dagher Engineering
Civil: Langan Engineering
Construction Manager: Hunter Roberts
Transportation: Philip Habib & Assoc.
Building Envelope: Israel Berger & Assoc.
Marketing: Nancy Packes
Vertical Transportation: Van Deusen & Assoc.
Acoustical: Cerami & Assoc.
Wind: CPP
Environmental: AKRF
Client: Durst Fetner Residential
Size: 80.000 m2
Status: Ongoing
Renders: German Glessner

BIG’s inaugural project in NY is a hybrid between the European perimeter block and a traditional Manhattan high-rise, West 57th has a unique shape which combines the advantages of both: the compactness and effi ciency of a courtyard building providing density, a sense of intimacy and security, with the airiness and the expansive views of a skyscraper. By keeping three corners of the block low and lifting the north-east corner up towards its 467 ft peak, the courtyard opens views towards the Hudson River, bringing low western sun deep into the block and graciously preserving the adjacent Helena Tower’s views of the river.

The form of the building shifts depending on the viewer’s vantage point. While appearing like a pyramid from the West-Side-Highway, it turns into a dramatic glass spire from West 58th Street. The courtyard which is inspired by the classic Copenhagen urban oasis can be seen from the street and serves to extend the adjacent greenery of the Hudson River Park into the West 57th development.

The slope of the building allows for a transition in scale between the low-rise structures to the south and the high-rise residential towers to the north and west of the site. The highly visible sloping roof consists of a simple ruled surface perforated by terraces—each one unique and south-facing. The fi shbone pattern of the walls are also refl ected in its elevations. Every apartment gets a bay window to amplify the benefi ts of the generous view and balconies which encourage interaction between residents and passers-by.

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UNStudio unveiled their entry for the Waalse Krook, Urban Library of the Future and Centre for New Media in the Belgian city of Gent. The proposal by Ben Van Berkel & Caroline Bos-led didn´t win the competition, but we are very happy to share it with our readers. Architects description and more photos after the break.

The two main aims in UNStudio’s design for the Urban Library of the Future and Centre for New Media in Gent are to create a dynamic, flexible and open knowledge environment, whilst simultaneously strengthening the character of the location with the introduction of a building with a distinct architectural identity. Sustainability is the guiding factor in the design, based on the conviction that not only must the environmental and user-friendly design of the Urban Library of the Future be able to evolve along with new media, but it must also offer the possibility for future change of use. Withan open landscape, spaciousness, extensive views, alternative circulation routes, several meeting areas and a public plaza, the design for the library affords a renewal of its urban context.

The building is both fluid in form and accommodating to its surroundings. This is evidenced by its appearance – which varies according to the orientation – as well as from the decision to lift the building volume above ground level, thereby creating light, transparency and expansive sightlines. However the layered structure and low construction volume ensure that the impact of the design on the urban profile is minimal and that views to the characteristic towers of Gent are preserved. The structure also makes it possible to introduce (green) roof terraces whilst also ensuring low levels of direct sunlight penetration.

Based on the functional organisation the volume is lifted in order to create public space around the Library. In conjunction with the promenade along the quays, this results in interaction with the surrounding water and thereby the revival of the Waalse Krook.

The internal organisation of the building is based on an open central void, around which the circulation takes place. This internal void enhances the spatial experience and creates clear orientation through the building. In addition to providing an extension of the urban context and the junction of the circulation routes, the internal void also functions as a link between the various functional clusters in the design. The void fulfills a bridging function between the city and the Municipal Library, and as such acts as a metaphor for public perception.

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Project: Target Tower
Architect: Belzberg Architects
Principal: Hagy Belzberg
Project Team: Aaron Leppanen, Barry Gartin, Brock DeSmit, Carina Bien-WIllner, Dan Rentsch, David Cheung, Lauren Zuzack
Location: Lakewook, Colorado, U.S.A.
Year: 2007
Status: Unbuilt
Project Type: Commercial, Residential
Construction Type: New
Size: 400,000 ft2

Target Corporation has developed not only as a top 10 U.S. mass merchandise retailer but also as an example of how traditional notions of big-box can be altered to more sensitively integrated within rural, sub-urban and urban environments.  More importantly, Target recognizes their place within various social constructs and actively and creatively engages the lifestyles of middle-America.  It is this malleable characteristic of Target which affords the conventional “big-box” opportunities to subtly mutate into entities which can coexist with smaller businesses, cultural institutions and within an urban landscape.

Presented with the challenge to develop an additional typology for Target stores, the Target Tower is prototypical design strategy for coupling a residential tower with the science and tradition of a typical Target store.  By using existing philosophies of Target as a springboard for development, the many facets of the company’s profile emerged as the ultimate criterion for judgment. 

Their ideal market, sustainable efforts, and an overall consciousness of design were pressed to develop a residential tower which could be identified as Target’s own and a “big-box” store which would not alter the interior science of the store but could relate to the character of the growing development surrounding the site.

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New York firm Diller Scofidio + Renfro have unveiled their design for a new Los Angeles museum for The Broad Art Foundation. Rem Koolhaas, Herzog & de Meuron, Christian de Portzamparc, Ryue Nishizawa and Kazuyo Sejima, Diller Scofidio + Renfro and Foreign Office Architects competed last year for a 120,000 sq ft and $130 million dollars project for a new museum and in August Diller Scofidio + Renfro won the competition. [More info and images after the break]

Philanthropists Eli and Edythe Broad and architect Elizabeth Diller today unveiled the designs of The Broad Art Foundation, a contemporary art museum on Grand Avenue in downtown Los Angeles.

Designed by world-renowned architects Diller Scofidio + Renfro, the three-story museum features a unique porous honeycomb “veil” that wraps the building and is visible through an expansive, top floor sky-lit gallery that will be home to great works of contemporary art drawn from the 2,000-piece Broad Collections.

The Broads also announced a 12-member board of governors and the inaugural programming for the contemporary art museum, to be called “The Broad.”

“Today, we celebrate another important milestone – the creation of a new museum 40 years in the making,” said Eli Broad, who was flanked by more than 200 city and county officials and community leaders as he revealed the designs for The Broad at a press conference at Walt Disney Concert Hall. “Grand Avenue is the cultural district for this great region of 15 million people. No other city in the world has such a concentration of visual and performing arts institutions and iconic architecture in a three-block radius. Edye and I can think of no better home for the public art collections we have assembled over the past 40 years.”

Located across the street from Walt Disney Concert Hall and the Museum of Contemporary Art, The Broad will also serve as the headquarters for the foundation’s worldwide art lending library. In addition to paying for the building, the Broads are funding the museum with a $200 million endowment – larger than the combined endowments of the Los Angeles County Museum of Art and MOCA. Joanne Heyler, the director/chief curator of The Broad Art Foundation, will also serve as director of the museum.

Featuring almost an acre of column-free gallery space, a lecture hall for up to 200 people, a ground floor multimedia gallery and a public lobby with display space and a museum shop, the 120,000-square-foot project will also include state-of-the-art archive, study and art storage space that will be available to scholars and curators who want to research works in the collection and borrow artworks for their institutions through The Broad Art Foundation.

Dubbed “the veil and the vault,” the museum’s design merges the two key components of the building: public exhibition space and the archive/storage that will support The Broad Art Foundation’s lending activities. Rather than relegate the archive/storage to secondary status, the “vault,” plays a key role in shaping the museum experience from entry to exit. Its heavy opaque mass is always in view, hovering midway in the building. Its carved underside shapes the lobby below, while its top surface is the floor of the exhibition space.

The vault is enveloped on all sides by the “veil,” an airy, cellular exoskeleton structure that spans across the block-long gallery and provides filtered natural daylight. The public entry to the museum will be on Grand Avenue and will complement the landscaped plaza to the south that is part of the Grand Avenue Project’s master plan. The museum’s “veil” lifts at the corners, welcoming visitors into an active lobby with a bookshop and espresso bar. Visitors will then journey upwards via an escalator, tunneling through the archive, arriving onto 40,000 square feet of column-free exhibition space bathed in diffuse light.

This 24-foot-high space is fully flexible to be shaped into galleries, according to the curatorial needs of each installation or exhibition. Visitors exit the exhibition space and descend back to the lobby through a winding stair through the vault that offers behind-the-scenes glimpses, through viewing windows, into the vast holdings of the Broad Collections and the foundation’s lending library operations.

“Our goal for the museum is to hold its ground next to Gehry’s much larger and very exuberant Walt Disney Concert Hall through contrast,” Diller said. “As opposed to Disney Hall’s smooth and shiny exterior that reflects light, The Broad will be porous and absorptive, channeling light into its public spaces and galleries. The veil will play a role in the urbanization of Grand Avenue by activating two-way views that connect the museum and the street”.

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Project: Vertical Village
Architect: Graft
           Lars Krückeberg
           Thomas Willemeit
           Wolfram Putz
           Gregor Hoheisel
           Alejandra Lillo
Collaborator: Brad Pitt
Location: Dubai, U.A.E.
Type: Urban Planning, Highrise, Hotel.

Vertical Village is a residential, hotel and entertainment development that harnesses the most powerful renewable energy source in the desert, the sun. Organized to reduce solar gain and maximize solar production, the buildings are massed as self-shading slabs at the North of the site on the East-West axis to reduce low-angle sun penetration. At the southern end of the site, a vast solar collector array optimally angles itself toward the sun and faces the main public strip as a potent gesture ot the developments sustainable intent and minimum LEED Gold rated performance.

The solar roof behaves much like a leaf, with veins that break the solar field up into serviceable units to provide structure but also transport energy, in this case hot water, back to the building where the energy is used to significantly reduce air condtitioning consumption and provide hot water. Beneath the roof lies an urban scale entertainment district of cinemas, restaurants, shops and a theatre that shifts in degree of privacy and scale between the main entertainment strip to the South and the residential hotel towers to the North.

The residential and hotel buildings have been sliced and leaned to firstly create large scale focal points, giving a unique address to each slab, and also to create a powerful and constantly shifting skyline as one drives by. Spaces captured between the slabs open up, interlock, disappear and then reappear as one approaches the building, offering a theatrical play of volumes that gesture towards the development’s entertainment and theatre program.

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Yesterday we published that last friday the winners of the Kaohsiung Port and Cruise Service Center International Competition were announced and Reiser + Umemoto was awarded first prize. We now present the winner of the Second Prize by Hani Rashid & Lise Anne Couture of Asymptote Architecture who worked with Krix Yao of Artech Architects.

Project: Kaohsiung Port Terminal
Architects: Asymptote Architecture and Artech Architects
Project Team: Asymptote Architecture; Hani Rashid & Lise Anne Couture, Artech Architects; Kris Yao
Location: Kaohsiung, Taiwan
Structural Engineering: Knippers Helbig
Environmental Engineering: Transsolar
Cruise Consultant: Parsons Brinckerhoff
Fire, Electrical & Plumbing: Heng Kai
Traffic Engineering: Everest
Project Area: 40,000 sqm
Client: Kaohsiung Harbor Bureau
Competition: Kaohsiung Port Terminal 2010
Renders: Asymptote Architecture

The new Kaohsiung Marine Gateway Terminal designed by Asymptote is a new state of the art transportation interchange, an urban destination with both terminal and public facilities including exhibition and event spaces for the people of Kaohsiung as well as for national and international visitors. The project transforms the site from its industrial roots into a dynamic urban hub and a global gateway that bring a powerful and electric experience to the city 24 hours a day.

The port terminal as envisioned by Asymptote is designed to invigorate and activate Kaohsiung’s city edge at the water. The port terminal extends the urban realm from the center of Kaohsiung to the city’s waterfront and connects this new urban space with the vitality of the future Pop Music Center and other public recreational and commercial activities that are to be located along the planned park at water’s edge.

Key components of Asymptote’s design are two elegant towers, a sculptural terminal hall that is framed and hovers in an elevated position between them, and a plinth below that connects the towers and accommodates a new public urban space. This open plaza is an articulated yet continuous public space that is located at the very intersection of circulation paths that seamlessly draw the urban space of Kaohsiung into the heart of the project through to the water’s edge and back towards the city. These provide access to a number of important public spaces and programs as well as contribute to the dramatic entry sequence to the port facilities. This intertwining of public and private access as well as programming creates an activated public realm, providing a unique experience to ship passengers and city dwellers alike.

The curved form of the terminal hall sits delicately yet majestically above the large open plaza activated by the flow of people moving back and forth between the harbor and the city. From the city, the terminal forms an urban scaled aperture that frames the harbor and water beyond. The sculpted underside of the floating building provides shelter to the urban space from the strong sun and seasonal rains while at night it provides dramatic illumination for the ongoing public activities, events and celebrations.

The interior of the terminal building provides a spectacular culmination; a soaring vertical space naturally lit from above leads up to the large clear span of the terminal hall with sweeping panoramas of the City and the Kaohsiung skyline on one side and of the Sea, the sky and the horizon on the other. These are experienced within a dramatic space defined by the sophisticated geometry of the curved shell roof and the lightweight sculptural panels suspended below where the geometric pattern of the assembly creates ever-changing spatial and light effects, celebrating the events of both arrival and departure.

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Designs for the Zayed National Museum have been officially unveiled today by His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE and Ruler of Dubai and Her Majesty Queen Elizabeth II of the United Kingdom. Conceived as a monument and memorial to the late Sheikh Zayed bin Sultan Al Nahyan, the founding president of the UAE, the Museum will be the centrepiece of the Saadiyat Island Cultural District and will showcase the history, culture and more recently the social and economic transformation of the Emirates. More info and images after the break.

Architecturally, the aim has been to combine a highly efficient, contemporary form with elements of traditional Arabic design and hospitality to create a museum that is sustainable, welcoming and culturally of its place. Celebrating Sheikh Zayed’s legacy and love of nature, the museum is set within a landscaped garden, based on a timeline of his life.

The display spaces are housed within a man-made, landscaped mound. The galleries are placed at the bases of five solar thermal towers. The towers heat up and act as thermal chimneys to draw cooling air currents naturally through the museum. Fresh air is captured at low level and drawn through buried ground-cooling pipes and then released into the museum’s lobby. The heat at the top of the towers works to draw the air up vertically through the galleries due to the thermal stack effect. Air vents open at the top of the wing-shaped towers taking advantage of the negative pressure on the lee of the wing profile to draw the hot air out.

Here in the museum these towers are lightweight steel structures, sculpted aerodynamically to work like the feathers of a bird’s wing. The analogies with falcons and flight are deliberate and relate directly to Sheikh Zayed’s love of falconry. This theme is further celebrated by a gallery devoted to the subject as part of a wider focus on conservation. These inner spaces open up to an outdoor arena for live displays with hunting birds.

Balancing the lightweight steel structures with a more monumental interior experience, the galleries are anchored by a dramatic top-lit central lobby, which is dug into the earth to exploit its thermal properties and brings together shops, cafes, an auditorium and informal venues for performances of poetry and dance. Throughout, the treatment of light and shade draws on a tradition of discreet, carefully positioned openings, which capture and direct the region’s intense sunlight to illuminate and animate these interior spaces. Objects are displayed within niches and on stone plinths that rise seamlessly from the floor.

The museum contains a variety of performance spaces. A large auditorium, lined with Emirati textiles, provides an evocative setting for presentations and films. The lobby incorporates more informal venues for poetry readings, music and dance, where the audience can gather in a circle to enjoy the spectacle and atmosphere of traditional performances.

The interior concept for the restaurant draws on the opulence and hospitality of the Bedouin tent, with carefully selected furnishings. The majlis, or VIP spaces, open onto a central courtyard. This traditional space offers guests a unique perspective, as it is the only place in the museum where one can enjoy views of the wind towers.

Lord Foster said:
“It has been a great privilege to work on the Zayed National Museum, to carry forward Sheikh Zayed’s vision and to communicate the dynamic character of a contemporary United Arab Emirates. We have sought to establish a building that will be an exemplar of sustainable design, resonating with Sheikh Zayed’s love of nature and his wider heritage.”

Saadiyat Island is located 500 metres off the coast of Abu Dhabi and is the largest single mixed-use development in the Arabian Gulf. Arranged as seven districts, the Saadiyat Island Cultural District will also include the Guggenheim Abu Dhabi Museum, the Louvre Abu Dhabi, as well as a Performing Arts Center and Maritime Museum. The Zayed National Museum is already under construction and will be the first of the museums proposed for the island.

Via: Foster and Partners
http://www.fosterandpartners.com/News/429/Default.aspx

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UNStudio, in collaboration with DP Architects, has been selected from a shortlist of five practices to design Plot A of the SUTD (Singapore University of Technology and Design) campus.

Located on a site of 76,846 m2 and close to both Changi airport – Singapore’s principal airport – and the Changi Business Park, the SUTD will be Singapore’s fourth and most prestigious university. The Singapore University of Technology and Design will offer four key academic pillars: Architecture and Sustainable Design (ASD), Engineering Product Development (EPD), Engineering Systems and Design (ESD) and Information Systems Technology and Design (ISTD). The SUTD will be a driver of technological innovation and economic growth, with the new campus acting as both a catalyst and a conveyor for advancement, bringing together people, ideas and innovation. More info and images after the break.

Ben van Berkel said: “The main aim of the design for the Singapore University of Technology and Design was to create a campus that celebrates both teaching and learning in an open and transparentway. The network of horizontal, vertical and diagonal vistas within the double quadrant organisation of the campus enables professors, students and faculty members to see, meet and communicate with each other through a network of crossing points, presenting opportunities for continuous interaction and exchange.”

The orientation and organisation of the campus is designed through two main axes; the living and learning spines which overlap to create a central point, binding together all corners of the SUTD. These thoroughfares create a 24/7 campus of seamless connectivity, enhancing direct interaction through both proximity and transparency.

The Singapore University of Technology and Design will offer four key academic pillars: Architecture and Sustainable Design (ASD), Engineering Product Development (EPD), Engineering Systems and Design (ESD) and Information Systems Technology and Design (ISTD). The New SUTD campus will facilitate cross-disciplinary interaction between all four pillars of academia. The orientation and organisation of the campus is designed through two main axes; the living and learning spines which overlap to create a central point, binding together all corners of the SUTD. These thoroughfares create a 24/7 campus of seamless connectivity. An open forum of learning is established by bringing professionals, alumni, students, and faculty together to interact both on an academic and a social level.

Project: Singapore University of Technology and Design
Architect: UNStudio
           Ben van Berkel, Carolina Bos, Astrid Piber with Christian Veddeler, Jordan Trachtenberg and Ren Horng Yee, Adi Utama, Jeff Johnson, Melissa Lui
Client: The Singapore University of Technology and Design
Location: Singapore
DPA: Chan Sui Him, Teoh Hai Pin, Jeremy Tan, Seah Chee Huang, Wykeith Ng, Liew Kok Fong, Wang Ying, Yeong Weng Fai, Jaye Tan.
Advisors
Structural consultant: Arup Singapore Pte Ltd
Primary cost analysis: KPK Quantity Surveyors (Singapore) Pte Ltd
Building surface: Phase I: 88,000 m2, Phase II 125,000 m2 Total : 213,000 m2
Building volume: Phase I: 422,400 m3: Phase II: 600,000 m3 Total : 1,022,400 m3
Building site: 76,846 m2
Programme: University Campus
Status: Competition

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