Podia, Plinths and Flying House
8 Projects
Wall Graft
3 Projects
héctor fernández elorza
4 Projects

208p / pb / USD 29.4

from Korea
from other Countries

Water at-traction _ Bureau FaceB
Phoenix Observation Tower _ BIG
A New Urban Campus for Bocconi University _ SANAA
Into the Wild _ Openfabric + dmau
Historical Park of Medieval Bosnia _ Filter Architecture
Mirror Lab 2.1 _ VAV Architects
Grundfos College Student Dormitory _ CEBRA

Podia, Plinths and Flying House
Podia, Plinths and Flying House _ Silvio Carta
Tanglewood House 2 _ Schwartz / Silver Architects
Algarrobos House _ Daniel Moreno Flores + José María Sáez
BF House _ OAB-Office of Architecture in Barcelona + ADI Arquitectura
X House _ Cadaval & Solà-Morales
House in Beranda _ Schmidt Arquitectos
Wind-dyed House _ acaa / Kazuhiko Kishimoto
Hanare House _ Schemata Architects
Summer House in Naxos _ Ioannis Baltogiannis + Phoebe Giannisi + Zissis Kotionis + Katerina Kritou + Nikolaos Platsas

Wall Graft
Revamping the Derelicts of the Past: In Praise of the Hybrid _ Nelson Mota
Corten Apartments _ 3ndy Studio
Thalia Theater _ Gonçalo Byrne Arquitectos + Barbas Lopes Arquitectos
Casa Potxonea _ OS3 Arkitektura

héctor fernández elorza
Incase We Meet _ Héctor Fernández Elorza
Intense Material Density _ Jesús Donaire + Héctor Fernández Elorza
Venecia Park
Twin Squares
Valdefierro Park
Faculty of Cellular and Genetic Biology

Podia, Plinths and Flying House

One of the main compositional principles since the time of Classical architecture, and even before, has been the tripartition of every building into plinth, body and roof. Each part, throughout history, has had a specific relationship with the city and its inhabitants: The plinth fosters direct connections with the streets and passersby, while the body constructs the urban tissue of the city in its tridimensional extent, and the roof determines its end in height, concluding the building. The overall combination plays various roles as the scale changes, turning a single object (the building) into a complex element. But what happens if one of these crucial compositional elements goes missing? Can the building still embody complexity and perform its various activities? Moreover, is it still a complex unité or is it now incomplete? What happens to its internal organization? In other words, what if a building is not solidly rooted in its terrain but is conceived as being perched? What if the building takes flight over uneven terrain? Written by Silvio Carta
Wall Graft

Revamping the Derelicts of the Past: In Praise of the Hybrid
The grand architectural gesture built over a tabula rasa is now seldom spotted in the ordinary work of an European architectural office. And this is not due to economic constraints, but because of a broadening notion of architectural heritage, which now includes not only singular monuments and highbrow architectural pieces but also more prosaic structures, buildings or ensembles. However, time seems to be still the determining factor that validates whether something deserves preservation or not. Concerning the criteria for preservation, the following moral assessment is thus gaining momentum: If it’s old is good, if it’s new we can discard.
Hence, nowadays, an important part of the commissions received by European architects deals with designing projects for sites where the derelicts of the past have to be revamped. Ruins are a special and very cherished type of those derelicts. And people tend to like ruins, as they often resonate with something that creates a link with the past. This popular fascination with ruins pervades also the intellectuals and the architects among them. Ruins are a token of something that stands somewhere in a limbo, between art and nature. They are hybrid structures that were created not only by the hands of men but also organically generated.
Revamping those derelicts of the past thus creates an additional challenge for architects, as they have to add another layer to an artifact that has already a charged aura. Contemporary architectural approaches show many different ways in which the design approach copes with this challenge. For example, the ruins can assume a performative role, a commemorative symbol or a deterministic function. Some of the most successful cases, however, reveal a shrewd critical assessment of the symbolic and formal qualities of those structures, that goes beyond a mere commodification of their antiquity. In these cases, the new layer thus becomes a celebration of the aesthetic hybrid of ruins. Written by Nelson Mota