5 Projects
Metaphor & Simile
6 Projects 
Urban How 
3 Projects 
University Facilities 
5 Projects

216p / pb / USD 29.4

from Korea
from other Countries
C3 no.310 1006

Paul Eluard Culture Center / OFF Architecture
Have a Nice Day / We Are You
Embassy of the Czech Republic in Washington D.C. / Chalupa Architekti
Play the Loop / Tetsuya Kawano & Karolina Fidor

1111 Lincoln Road in Miami_Herzog & de Meuron
Let's go to the Parking Garage_text by Silvio Carta
Social Housing in Monte Hacho_ MGM Morales-Giles-Mariscal
To Empty_text by Diego Terna
Water Museum in Palencia_MID Estudio
Water Museum in Lanjarón_ Juan Domingo Santos
We Float_text by Diego Terna
Vakko Headquarters and Power Media Center_REX
Fortuitous Flux_text by Alan Rapp

Metaphor & Simile
Remembrances / Diego Terna
Mandarin Oriental Hotel in Barcelona / OAB-Office of Architecture in Barcelona
Quai de Seine Hotel / Atelier d'architecture Chaix & Morel et Associés
Nezu Museum / Kengo Kuma & Associates
Renovation of the Swiss National Museum / Christ & Gantenbein Architekten
Pier Arts Center / Reiach and Hall Architects
Brigittines Theater / Studio Andrea Bruno + Sum Project

Urban How
Zurich Insurance Company H.Q. / Scandurra Studio
Permeability and Interactions / Samantha Heringuez
Apartments in Cesena / Tisselli Studio Architetti
M+ / Hahn Joh

University Facilities
New Places for Learning / Marco Atzori
Luigi Bocconi University / Grafton Architects
Dormitory of Polo University in Novoli / C+S Associati
Julliard School / Diller Scofidio+Renfro + FXFowle Architects
School of Music, Lisbon / João Luís Carrilho da Graça Arquitectos
Plastic Arts School in Oaxaca / Taller de Arquitectura

뽈 엘뤼아르 문화 센터 / 오프 아키텍쳐
좋은 하루 되세요 / 위 아 유
미국 주재 체코 대사관 / 할루파 아르키테티
많은 길로 통하는 운동장 / 타츠야 카와노 앤 카롤리나 피도르

마이애미 1111 링컨 로드 / 헤르조그 앤 드 뫼론
주차장으로 놀러가요_글 실비오 까르따
몬떼 아초 공공 임대 주택 / 모랄레스 힐레스 마리스깔
비우기_글 디에고 떼르나
빨렌시아 물의 미술관 / MID 에스뚜디오
란하론 물의 박물관 / 후안 도밍고 산또스
물 위에서_글 디에고 떼르나
바코 본사 및 파워 미디어 센터 / 렉스
행운이 따르다_글 앨런 랩

은유와 직유
기억을 되살리며 / 글 디에고 떼르나
바르셀로나 만다린 오리엔탈 호텔 / 오피스 오브 아키텍쳐 인 바르셀로나
콰이 드 센 호텔 / 아뜰리에 드 아키텍쳐 셰익스 앤 모렐 엣 어쏘씨에
네즈 미술관 / 켄고 쿠마 앤 어쏘씨에이츠
스위스 국립 박물관 보수 및 확장 / 크리스트 앤 간텐바인 아키텍튼
피어 아트 센터 / 라이아크 앤 홀 아키텍츠
브뤼셀 브리지트니스 극장 / 스튜디오 안드레아 브루노 + 썸 프로젝트

취리히 보험 본사 / 스칸두라 스튜디오
쉬이 들락이기 / 사만다 헤링게즈
체세나 아파트 / 티쎌리 스튜디오 아르키떼띠
엠플러스 / 조 한

대학 건축의 새 지평
새로운 배움의 장 / 글 마르코 아쪼리
루이지 보코니 대학교 / 그라프톤 아키텍츠
노보리 폴로 대학 기숙사 / C+S 어쏘씨아띠
줄리어드 학교 / 딜러 스코피디오+렌프로 + FX포울 아키텍츠
리스본 음악 전문학교 / 쥬아오 루이스 캐릴료 다 그라차 아르끼떽또스
오악사카 조형미술대학 / 따예르 데 아르끼떽뚜라

Metaphor & Simile

Nature is a temple in which living pillars 
Sometimes give voice to confused words; 
Man passes there through forests of symbols 
Which look at him with understanding eyes.
Charles Baudelaire, Correspondences, The Flowers of Evil, 1857

When, in 1857, Baudelaire talks about correspondences, he describes a fictional universe that takes us into a well-known world that is yet new and mysterious. He does so by using rhetorical devices – metaphors – that somehow organize a sort of unedited remembrance for the reader. 
The power of metaphor, in fact, comes from the imaginary constructed in the mind of the reader, from its own personal feelings and its own personal memories. The world described by the writer doesn’t exist, but one who reads the poem probably has the feeling of being there, of having lived in the narrated place. From this point of view, perhaps, the rhetorical device used by Baudelaire defines itself through a life, a past, whose relationship with the text permits one to reconstruct the image provided by the poet, the other meanings that words alone cannot tell. A renewed past, therefore, links text and metaphor, and it matters little that the past exists or not.
In 1975, Francesca Woodman takes the picture From Space, in which the artist is portrayed in front of a wall with the naked body partially covered by wallpaper. It seems that this coating comes from the wall itself and that a providential glimpse shows us a body trapped in the walls. Or, perhaps, that body is nothing but an extension of architecture surrounded by crumpled wall, a moment of truth, with the space anime itself acquiring a materiality that approaches a human experience.
Now, that wall is no longer an old vestment that slowly falls apart: the paper flower, set in a slight movement, which opens to show two feet, a belly, an arm, gives us the memory of the events that occurred inside the building, of the lives of people who have lived or worked here. A small remembrance, no matter if it really has been lived, takes us back, lets us imagine a life within the space portrayed in the photography, beyond the blinded windows or near a large crack.
Woodman’s work succeeds in conveying to the viewer a trope, a metaphor (the human architecture) without any text but simply with the construction of a scene through a few gestures: the wallpaper, the naked body, the blinding light.
Written by
Diego Terna


University Facilities

New Places for Learning
The architecture of places of knowledge was radically modified in the last two decades. In relation to changes that transformed our society, universities, art schools, music academies or scientific research centers evolved whether in their teaching models or in their role vis-a-vis other social and economic factors; consequently, their architecture change. It is not anymore conceivable that isolated study and research places, such as the university, the school, the campus, would stay as an “ivory tower” uninfluenced by external mutations. A series of social and economic factors that allow the survival of these places and their continuous close relationships with the world of production leads university and artistic learning centers to reinvent their own identity and setting in order to become better places for growth and living.
The selected projects highlight a series of typological characteristics or linguistic choices that represent the evolution and changes that characterize some of the recent buildings constructed to accommodate prestigious scholastic institutions, university buildings or interconnected services. Together, these projects offer a representational panorama of the transformation of architectural language in places of knowledge.     
Under the typological profile, a complex relationship could be observed between the spatial dynamics, on the one hand, that are generated by the functional program, as it refers to an introverted space with focal centers located inside the building for communication and distribution systems, or internal patios for climatic and light control, and on the other hand, the necessity to explicitly highlight the presence of the institution in a specific context to which the place belongs.
The search for an image that is identifiable by its architectural object, the production of urban landmarks has been for some years a linguistic search engine that tends to affirm the unity and originality of the single architectural object. After the Guggenheim in Bilbao, it became a fact that original and unique buildings, capable of representing themselves as an event in their urban context, lead to success to their corresponding institutions. This conviction lead these institutions to launch prestigious competitions or invest in projects that produces trademarks that are identifiable through architecture. The process was diffused in almost all institutions that represent the contemporary society even the prestigious scholastic places and universities.
In some of the analyzed projects, the intention to communicate and render visible the presence of these buildings, with a similar logic to that of shopping, as Rem Koolhaas reckons, creates design dynamics for which the public space or the image ranks first. Communication areas between the building and the city is privileged so that they seduce and invite the public user to discover what can be offered.
Written by  Marco Atzori