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While my initial goal was to share my experiences living in such a novel structure—highlighting my impressions, expectations, and the contrasts between how this award-winning project for sustainability was marketed versus what I observed on-site—I believe I’ll save that discussion for another time. This reflection has prompted me to consider how perceptions have shifted over nearly 15 years, particularly regarding the primary material used: CONCRETE.

I couldn’t help but observe that nowadays, referencing concrete in a project aimed at sustainability carries a negative connotation, perhaps even suggesting a contradiction. The student complex I am referring to was primarily constructed with exposed concrete.

Furthermore, I noticed that in the presentation of a project by an international firm, the term “CONCRETE” was entirely omitted from any website or article associated with it. Clearly, if one examines the details and visits the site, concrete has not vanished as if by some magical means. Instead, only cedar wood is highlighted in its presentation. I suspect that if the project were genuinely intended to be constructed entirely from wood rather than merely featuring it as cladding—as this one does—it would have been specified as such. When did “concrete” become viewed as the enemy?

While browsing the internet, I stumbled upon the March 2025 editorial from Domus - “Bjarke Ingels: Concrete, the anti-hero of architecture”. (link in the comments)

I was not only pleased to see someone addressing the questions I’ve been pondering lately, but I also noticed a plethora of examples featuring architects like Le Corbusier, Zaha Hadid, and Tadao Ando. This prompted me to add a few more names to the conversation, such as Álvaro Siza, Souto de Moura, Herzog & de Meuron, SANAA, and UNStudio—architects whose remarkable concrete structures I have visited. The list could go on.

As Bjarke Ingels articulates in this piece,

In line with this thought, I discovered Partanna’s CO₂ absorbing concrete a few months ago and have been following its developments closely. (link in the comments)

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This initiative has always held a special place in my heart since I first studied it over a decade ago. The remarkable transformation of the Poblenou neighborhood through this project serves as an inspiring example of how cities can effectively repurpose existing structures to foster innovative and productive districts.

The 22@Barcelona project, initiated by the Barcelona City Council in 2000, sought to revitalize 200 hectares of #industrial land in the Poblenou neighborhood into a vibrant hub for knowledge-intensive activities, thereby enhancing residents’ quality of life. This #economic #regeneration #strategy integrated production centers, social housing, public facilities, and green spaces while preserving #historical elements and promoting #sustainability. A key feature of the initiative is the development of the Helix, which propels the dynamic “Triple Helix” innovation model by fostering collaboration among businesses and research institutions within this transformed urban landscape.

One of my absolute favorite #places in this district is the CAN FRAMIS Museum, masterfully designed by Jordi Badia. This remarkable space always captivated me with its ability to blend contemporary architecture seamlessly with the historical context surrounding it. The quality of the space is truly inspiring, as it invites visitors to appreciate both the modern elements and the echoes of the past that resonate throughout.

Recently, while exploring online, I stumbled upon Museo Oliva Artés by BAAS arquitectura, which also showcases an incredible fusion of old and new architectural styles.

Additionally, I learned that Ca l’Alier, which was part of my final project site, has transformed into the Urban Innovation Center of Barcelona. This site has now become a benchmark not only for innovation but also for sustainable rehabilitation, honoring the historical and industrial memory of the area.

For those curious about numbers, data, and innovative strategies in urban economic and social renewal, I highly recommend exploring the wealth of documentation available online. Additionally, check out “The 22@bcn Activities District” by Antoni Oliva to gain insights into the #Barcelona Model. It’s a fantastic resource for anyone looking to understand new city models and regulations for emerging activities.

* The City as Resource: Enabling Alternative Futures Symposium Cobe Dorte Mandrup
* Towards a Sustainable Built Environment Sector Media Evolution Form/Design Center
* Futures of Work Places and Neighborhoods Media Evolution ShiftSweden Dark Matter Labs Malmö stad

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But I recall the first snow from nearly a month ago. A dreamy landscape of white fused with a landscape of sand dunes, pine forests, reed areas and an extensive sandy beach.

During my long summer walks, I stumbled upon a remarkable place in Sweden, renowned for Absolut Vodka’s influence on its fame and the happiness of enjoying ridiculously large ice cream portions from OTTO & Glassfabriken (lucky me). This delightful spot truly captivated me.

Walking the hilly gravel streets of Äspet for the first time, I couldn't help but notice how this residential community seemed to be untouched, a haven of unspoiled nature. There weren’t visible delimitations of the plots, and the wealth of pine forests pierced by streets that looked more like alleys created a park atmosphere.

The landscape was completely undulating, with houses scattered on hills and in valleys. It was often difficult to determine which houses were part of the same plot or neighbors, though their different colors made it somewhat easier to distinguish them.

As I continue my journey, I occasionally notice small pieces of garden furniture positioned on hilltops and nestled among trees. I find myself imagining how delightful it would be to sit in such a serene spot with a good book in hand. From time to time, the wind whistles softly through the foliage, creating a harmonious melody of nature that blends beautifully with the songs of various birds.

I think more than half an hour passed in this walk, but who can quantify time in such circumstances, and the only sound that filled my ears was the murmur of the waves crashing against the Revhaken shore, located a few hundred meters away.

Coming out of the forest, I came across another dream landscape, a beach you wouldn't imagine you could find in a Nordic country.

Only after I got home did I discover that this landscape carries with it a story over 500 years old, when the oaks stood proud and towering, covering the earth with their protective shadow. But due to the acute need for timber and fertile land, these forests were cleared and the natural beauty began to fade. The merciless winds began to scatter the sands, becoming a threat to the farmers in the area.

In the first half of the 19th century, in response to this ecological crisis, the community decided to plant vast areas of pine trees. These human interventions not only changed the face of the landscape, but also created a new balance between nature and human activities. It is fascinating to observe how every decision made by humans has left an imprint on this place and how nature continues to evolve following these inevitable changes.

It is equally fascinating to watch this landscape in different seasons. So, almost a month ago, when the first snow fell, I didn't miss the opportunity and traveled there to witness it.

The landscape did not disappoint. I expected that the pine forest sprinkled with Swedish cottages covered in snow would be a fairy tale, but I didn't expect to be so impressed by the long beach now covered almost entirely by snow.

(I leave some pictures of the nature reserve, the pine forest and the beach.)

And because, although I admired with my own eyes pieces of architecture that I would have liked to know more about, and which, out of respect for the privacy of the tenants, I did not capture in the images, I discovered some projects that I share more below, for other curious people like me.

Oh, and I forgot, this wonderful place in the Äspet area, within the city of Ahus, is located in Skane, Sweden. I leave below images taken from the tourist board of the nature reserve to show the playful location of the houses and the unique character of the place.

I wish you all joyous celebrations and a New Year brimming with inspiration and wonder!

May the beauty of each place we cherish continue to warm our hearts, no matter where we find ourselves in this vast world.

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The high-pitched cries of seagulls became a familiar soundtrack to my life there, often swooping down with an audacious flair as they eyed my prepared home-cooked meals.

One of the most delightful surprises during my stay was the incredible opportunity for free entry to museums. Like many others, I found myself subscribing to various newsletters—some capturing my attention while others faded into the background noise of daily life. It was through one such newsletter that I stumbled upon information about October activities at the National Gallery of Ireland. This sparked a wave of nostalgia, reminding me of all the museums I had explored with unrestrained joy —all without spending a dime.

Having lived in other major European cities, I can confidently say that Dublin offered something unique: unrestricted access to its cultural treasures. Reflecting on those experiences now fills me with gratitude; it was truly wonderful to have so many creative spaces at my fingertips.

The rich and vibrant tapestry of Irish culture is beautifully showcased across various institutions like the National Museum of Ireland-Decorative Arts & History, the Irish Museum of Modern Art, the National Gallery of Ireland, the National Museum of Ireland - Archaeology, Photo Museum Ireland, and the Hugh Lane Gallery.

Yet, my heart undeniably belongs to the National Gallery of Ireland.

Perhaps it’s the sheer convenience that played a significant role in this affection; after all, it was less than five minutes from my workplace. This proximity transformed my lunch breaks into cherished moments spent in the company of artistic legends—Vermeer, Turner, Degas, Picasso, Rembrandt, Monet, Caravaggio—the list goes on and on. Each visit felt like stepping into a sanctuary where I could immerse myself in beauty and creativity.

Reflecting on the impact of free access to art galleries and museums in Dublin, it becomes evident that such initiatives significantly enhance cultural literacy among citizens. This accessibility fosters identity formation as individuals engage with diverse artistic expressions, promoting a sense of belonging and community. Furthermore, the long-term effects include nurturing lifelong learning and advancing social equity, as everyone, regardless of socioeconomic status, can partake in enriching cultural experiences that shape their understanding of the world.

As I envision a world where museums open their doors to all, I ponder:

• How might this redefine our collective identities?

• What sustainable paths must we forge to fund such dreams?

• In what ways can technology elevate our journeys while ensuring free access?

• How do local voices narrate their legacies?

• Lastly, how might this evolution impact the dialogue surrounding cultural appreciation versus appropriation?

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✴ "This Mesh We're In" is a collaborative effort that explores future #scenarios that reflect the complexities of our current world, then detailed through engaging narratives written by the author Paul Graham Raven. His stories feature characters who inhabit these imagined worlds, allowing readers to connect with complex ideas in a relatable way. The captivating narratives in this book serve not only as inspiration but also as thought provoking. By exploring various possibilities, it encourages us to think critically about the paths we choose and the impact they have on our communities.

As core contributors to this project, we have meticulously scanned and interpreted #trends and #signals that are shaping our current #social, #technological, #environmental, #economic, and #political #landscapes. Our work involved mapping out these signals and trends while discussing the dynamics of change that influence our futures.

Among the compelling narratives within this collection, my favorite stories penned by Paul include “The Story of Herr Klein’s Car” and “Two Interviews.” These narratives vividly illustrate two distinct scenarios that challenge us to think critically about our future trajectories.

In the accompanying commentary chapters, Deb Chachra shares her reflections and recommendations, while Györgyi Gálik, Vlad Afanasiev, Ryan Bellinson and Indy Johar dive into the question of systems of governance and decision-making needed for this transformation.

During this #collaborative #foresight cycle about the #future of #infrastructure in southern Sweden 2050, I allowed myself very briefly to visualize a library extracted from the future scenario in which I was involved. In doing so, I explored its transformative potential beyond conventional frameworks, contemplating innovative spaces and activities that could redefine societal interactions. This exercise ignited my passion for designing future-proof #architectural projects that resonate with evolving #cultural narratives.

✴ Gustav Magnusson’s “Keynote Conversations - 100 Interviews for Reinventing the City”, presents a rich tapestry of ideas through diverse voices from around the globe. Each conversation offers unique perspectives on urban issues, enriching the discourse surrounding city reinvention.

I found many interviews to be particularly compelling, such as those of Claus Rabe, Oana Bogdan, Frank Gauthier, Alejandro Aravena, but I chose to share a few that resonated with me during my reading experience.

Both books are invaluable resources for anyone interested in shaping our urban future. They challenge us to think critically about our environments while providing inspiration for actionable change.

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Ever since the end of 2022, when I saw the "Our Architecture" exhibition at the Danish Architecture Center (Dansk Arkitektur Center) , where Vilhelm Lauritzen Architects displayed projects from their 100 years of practice, I was impressed by the concept of the North Zealand Hospital project, located in Hillerød, Denmark by Herzog & de Meuron and Vilhelm Lauritzen Architects.

I appreciated the chance to visit the construction site and, during this visit, to witness firsthand the hospital space that I have been reading about over the past few years.

This innovative facility is not merely a place for medical treatment; it embodies the concept of “healing architecture,” which emphasizes the importance of environment in promoting well-being.

The architectural design adheres to the Danish Building Classification 2020 and has achieved DGNB gold certification, marking it as one of the most energy-efficient hospitals ever to be built.

The hospital’s construction incorporates climate-informed design principles that enhance resilience against climate-related impacts, showcasing innovative solutions for flood risk reduction and flexible organization. By setting a new standard for future healthcare facilities in Denmark, North Zealand Hospital not only addresses current health challenges but also prepares for potential future risks associated with climate change.

As an architect, I was eager to observe the development of of Herzog & de Meuron’s first project in the Nordic countries.

I was truly impressed by how beautifully organized the Open Day at New North Zealand Hospital (Nyt Hospital Nordsjælland) was, showcasing the potential of the facility even while still under construction. I eagerly look forward to seeing the completed building and hope there will be another Open Day to celebrate its grand opening.

I have included some interesting websites and photographs I captured from the site for those who share my curiosity.

https://www.herzogdemeuron.com/projects/416-new-north-zealand-hospital/

https://vilhelmlauritzen.com/project/nyt-hospital-nordsjaelland

https://dac.dk/en/knowledgebase/architecture/nyt-hospital-nordsjaelland-architecture-just-like-the-doctor-ordered/

https://www.ramboll.com/projects/healthcare/north-zealand-hospital-s-fresh-design

https://www.arteliagroup.com/project/new-north-zealand-hospital/

https://www.systematica.net/project/new-north-zealand-hospital/

https://climate-adapt.eea.europa.eu/en/metadata/case-studies/new-north-zealand-hospital-a-resilient-acute-care-hospital-for-the-future-hillerod-denmark

https://www.vogt-la.com/new_north_zealand_hospital

https://www.linkedin.com/pulse/one-denmarks-largest-hospital-construction-sites-uses-imersos/

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In this post about wood architecture, I would like to highlight those SPACES crafted from wood that have transformed into meaningful PLACES, each leaving a lasting impression on me.

In no particular order, these are Råå pre-school designed by Dorte Mandrup, Aula Medica at Karolinska Institutet by Wingårdhs and 79&Park Hillside by BIG - Bjarke Ingels Group.

Råå pre-school, winner of the Swedish Timber Prize 2016, located on a scenic beach near the city of Helsingborg, enjoys a special relationship with the landscape in which it is anchored, a connection with nature and natural light. This game of slopes that creates special and diverse spaces indoors, also invites you to play on the roof.

79&Park Hillside, a residential of 169 apartments covered with cedar wood, was created in such a way as to create a visual and tangible connection with nature.

What particularly attracted me was the play of volumes, this pixelation, as well as the carefully chosen orientation of the wooden panels. They give a human scale to the entire volume and create diversity at the same time.

Aula Medica impresses from the outside with its curved facade with an inclination of 33°, an overhang of 23m and countless colored triangular glass sections anchored in a glulam frame.

As for the interior, none other than Gert Wingårdh can describe it better.

“Inside the Aula Medica there is a general feeling that I think we Scandinavians like. It’s inviting, warm and intimate”

There is no doubt that it is true what Henry Plummer says in his book Nordic Light - Modern Scandinavian Architecture about Scandinavia that it "retains an intimacy with wood that continues to resonate in the Nordic Soul. [...] The immersion is atmospheric, as well as material, for the continues timber forms a vessel that collects and concentrates the aroma of wood, and presents a complex but unified whole, vibrant with light modulations, in which every tone contributes to the overall ambience. The ambience may not be bright, but it is nevertheless rich in mood, with a tawny glow that evokes the peace of the primeval forest.”

This is clearly seen from the mastery with which Scandinavians put it into work with visions for the future.

For enthusiasts, there are many offices worth following, but to name a few: Henning Larsen, SHL - Schmidt Hammer Lassen, 3XN/GXN,. C.F. Møller Architects

You can find more resources in the comments.

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But ceramics means more than #tradition, it also means #innovation, keeping the same level of attention to details, always creating a connection with the hashtag#context.
Let me travel with you through 3 landmark projects.

MAAT, the Museum of Art, Architecture and Technology in Lisbon by AL_A, a shining wave along the Tagus river, uses three dimensional tiles reflecting both the sunlight and the water. An almost poetic architectural form catches you in its nets, and only in its proximity you can enjoy these ceramic tiles that pay homage to Portugal's history of ceramics.

In another corner of the world, the Sydney Opera House by Jørn Utzon, which celebrated its 50th anniversary last year, was covered with 1.056.006 unique tiles. To emphasize the sculptural nature of the building, a glossy non-reflective tile with a surface like hammered silver – uneven and vibrant was developed in collaboration with Höganäs Kakel, Sweden.

Staying in the sphere of #culture, but returning to Europe, the Museum der Kulturen Basel, one can mention the Buchtal ventilated ceramic facade by AGROB BUCHTAL l architectural ceramics with HT coating with dreamy properties such as self-washing, anti-bacterial and odor-repellent. But I would definitely appreciate the new roof designed by Herzog & de Meuron for the way it resonates with the medieval #architectural #landscape in which it is situated, and last but not least for the #atmosphere created by the uneven folds of this roof.

As you embark on your summer adventures, take a moment to appreciate the beauty and craftsmanship around you. Let it all inspire you to embrace cultural heritage, celebrate innovation and create lasting memories.

❕Cool 🔗s in the 💬

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All my events over the years that revolve around the sphere of performance halls, have a surreal feel, as if the energy that these spaces emanate is reflected in everything it comes into contact with.

Even when I intersected with this world professionally, through #feasibilitystudy or #scenography projects, they were full of elephants with glitter, discussions equal to tempests, and creative workshops where every dream became reality.

With each space visited, from the Ancient Theater of Epidaurus with its exceptional acoustics, to the Teatro alla Scala in Milan, from Malmö Live by SHL - Schmidt Hammer Lassen to the Palau de la Música Catalana by Lluís Domènech i Montaner, from the Teatro Massimo in Palermo to The Royal Danish Opera by Henning Larsen, from the Teatro Olimpico by Andrea Palladio, to the Oslo Opera House by Snøhetta, a new layer of knowledge has been added.

As an architect, I always tried to decipher these spaces, I looked for their #visibility curve, the materials from which they were designed, the software with which they achieved a suitable #acoustic, the various mechanisms of the #stage, up to the annex spaces not seen by the spectator during the act of the performance, but the real #emotion happens when the #lights are turned off, the gong rings 3 times, and the curtain slowly moves away, introducing the viewer to a new world, a world to which he is now connected, at least affectively.

The #performance halls are meant to host the powerful creative act and to protect the very sensitive transmission of experiences.

Well, and when there is no show? If it is offered to the #city, then the space becomes a public #plaza. For me, Henning Larsen's The Royal Danish Opera is the perfect place to enjoy my coffee, and for a while it was the place where I secretly supervised Cobe's The Opera Park construction site.

If I were to rephrase Aesop's famous quote, I would say "A city is known by the performance hall it keeps".

Not only does architecture shape our #behavior, but in this case #performance #halls are a significant #political, #cultural and #economic agents. Moreover, the way they are designed says a lot about the city's #values and #beliefs.

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I have always been fascinated by 1111 Lincoln Road by Herzog & de Meuron. The sculptural nature of the #concrete #structure, with the unequal heights between the levels, allows the hosting of activities such as used for parties, photo or film shoots, fashion shows, concerts or other social or commercial activities. And last but not least, amazing panoramic images.
However, the proportions of the elements, the shape of the pillars, the quality of the space created and the apparent concrete have always represented a joy for the eyes from my point of view.
More: https://lnkd.in/dBbFuUEW

During this year I added another parking lot to my list, "PARK'N'PLAY" by JAJA Architects. A structure surrounded by a system of planters, a frieze that tells the story of the harbor and a staircase that embraces the entire facade. What is really spectacular is the playground set up on the terrace which also offers views of other landmark buildings such as "The Silo" by Cobe, "Tip of Nordø" by Cobe, Vilhelm Lauritzen Architects, TREDJE NATUR, "UN City" by 3XN/GXN and many others.
A playground for all ages, but also a belvedere for architecture lovers.
More: https://lnkd.in/dpS-YFdr

Not far from this is the recently opened parking lot: The Opera Park by Cobe.
A real delight for everyone. Although it houses an impressive underground car park, you can't get enough of the park layout, the greenhouse and the wonderful views with the surrounding buildings such as The Royal Danish Opera by Henning Larsen, the Paper Island by Cobe and the Waterfront Cultural Center by KENGO KUMA & ASSOCIATES.
The greenhouse in particular offers the viewer a captivating journey full of hashtag#shapes, hashtag#textures and vegetation.
A space rich in nature, natural light and with a visual dialogue towards present and future architectural landmarks.
A must if you come to visit #Copenhagen.
More: https://lnkd.in/dkPbxdra

As cities continue to grow and space becomes a premium commodity, reimagining parking structures as more than just utilitarian spaces opens up a realm of possibilities for blending form with function. The fusion of design ingenuity and sustainability, in these projects paves the way for a future where even the most mundane aspects of city living can inspire awe and admiration.

#parking #architecture #structure #landmarks #nature #vegetation #landscapedesign #playgrounds #panoramicviews #stair #terrace #texture #shape #view #journey #archilovers #architecturedesign #green #art #concrete #co2

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More than a decade ago, I participated in Le Corbusier's Tour with a group of over 250 architecture students and teachers.
A tour of 5 countries, many exceptional architectural landmarks, including Villa Savoye, Villa La Roche, Atelier Ozenfant, Sainte Marie de La Tourette, the church of Saint Pierre in Firminy, Notre Dame Du Haut Chapel, Heidi Weber Pavilion. Only when I list them I get goosebumps and I am grateful that I had the opportunity to see them with my own eyes.

But this tour meant more than that. The Le Corbusier tour was the guiding thread to a remarkable #architecture a lesson with multiple possibilities.
In such a rich tour, all the dreams, desires and hopes of both the students and the guiding teachers have been collected.
A tour full of surprises, joys and wonders. The list of objectives visited is too long to mention here, but I will only name a few, Rolex Learning Center by SANAA, Paul Klee Center by Renzo Piano, Vitra Complex, Santiago Calatrava's RWI Library.

It's hard to put into words the emotion and joy of seeing, feeling, studying architectural works that we have been told about, that we have read about in books, that maybe we only dreamed of seeing.
Charles-Édouard Jeanneret, Le Corbusier - the #architect, #urbanplanner, painter, sculptor, writer, theorist, furniture designer, or Corbu as we call him was for me a teacher I had never met, but from whom I learned a lot, who answered many questions, and who guided me often through his #writings, #drawings and architecture.
The essays contained in "Vers une architecture", made me understand the great purpose of architecture, the emotion that can provoke it, and the revolution that took place in the concept of architecture.

"Le Corbusier in detail" completed this wealth of information highlighting the level of involvement of the architect in #detail, from structure to color, space, sound, #material, furniture, from hashtag#light to windows in the strip, reflections, lamps, sunbeams, from architectural promenade to stairs, ramps, handrails, doors, handles.

Le Voyage d'Orient can be a different guide, which can take each of us through all these places that Le Corbusier has looked at with different eyes, and understanding not only the history and importance of these places, but also the experience of #lecorbusier and what would be the source of inspiration.

To learn as well as to practice architecture is to ask yourself questions, to find your own answers, to find solutions, to perceive the world both with emotion and with reason.

I'm curious, what architect or architecture makes you wonder, which intrigues you or provokes you?

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Returning to the #materials, whether it is #copper, #corten, #galvanizedsteel or #lead, the patina of the #surfaces tells a story, like a new generation that respects the past, continues the tradition and writes a new history.

The choice of copper for the #expansion of Saint-Francois Convent by the AMELIA TAVELLA Architectes was precisely for its transformative properties, which in time will tell a story like the ruins it protects. Fascinating is also the dialogue it has with the light, creating a real poetry.

I say Corten, and already countless favorite examples appear in my mind's eye. An example that I would like to see in reality, for more reasons than choosing the Corten for the facade, is the Caixa Forum by Herzog & de Meuron.

Another sensitive choice for an outstanding restoration is the use of lead in St. Mary's Medieval Mile Museum by McCullough Mulvin Architects. A material that almost perfectly integrates into the built landscape, but also into the Irish atmosphere, harmoniously completes the volume. More than that, the interior is truly spectacular, combining the past with the present both in terms of atmosphere and adopted solutions. I had the pleasure of visiting it together with the team of architects from McCullough Mulvin Architects in my short collaboration with the office, and I can say that no matter how splendid the photos are, the experience of visiting it is unparalleled.

The history of a city sometimes includes stories about its industry, and some histories are rewritten. A new face of the silo from another time is given by galvanized steel, carefully chosen and skillfully installed. Becoming a landmark in Nordhavn, The Silo by Cobe, one of my favorite projects of the office, brings a building back to life, and together with a suite of masterpieces and through a carefully crafted masterplan brings an entire industrial area to life.

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Another action that I follow with interest and curiosity is the Reduction Roadmap developed by EFFEKT, Artelia and CEBRA together with industry professionals and climate researchers from over 400 companies and organizations advocating for aligning climate requirements in Danish building regulations with climate science to comply with the Paris Agreement supported and generously funded by Realdania and Villum Fonden.

And most of the time, my mind wanders to an extensive restoration project that I visited over 10 years ago, when I was doing an internship as a student at Flores & Prats Architects in Barcelona, ​​the by EMF and Ardèvol.Tudela-Culip Restoration Project in Cap de Creus

A complex natural landscape restoration project, the largest nature restoration project ever carried out in the Mediterranean basin, that has returned from a private land to a public asset a landscape that once represented the source of inspiration for Salvador Dali and many other artists.

A space that now consists of subtle design elements (explanatory panels, viewpoints and alleys) that integrate into the natural landscape, used to be 400 holiday homes, not to mention restaurants, an amphitheater, a tennis court, a soccer pitch, a dock for boats and even a heliport.

Not only were all these removed, but through the meticulously executed demolition, through a concept of recycling 100% of construction waste, 45,000 m3 was reused ‘in situ’ local stone for landfills, and transporting ceramic materials outside for civil works.

This project meant for me then an example that our involvement as architects does not mean only "to build", that sometimes the greatness of the environment is more important and must be restored, that we can correct our mistakes, that by demolishing, it does not mean creating more waste. And more than that, even if it is more difficult, longer and more expensive, if there is involvement, anything can be achieved.

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Certainly, the humblest material for creating spaces for contemplation and tranquility is raw concrete. And the Bruder Klaus Field Chapel by Peter Zumthor is undoubtedly an architectural landmark in this sense.

Whether it's about the technique by which the concrete was poured for 24 days called rammed concrete, whether it's about the formwork made of 112 tree trunks or the fact that the wooden structure was burned, a slow burn that lasted 3 weeks, or maybe all these aspects and many other details that the architect thought carefully about made this space have a special uniqueness.

Upon examination of Mircea Eliade’s book “Images and Symbols: Studies in Religious Symbolism,” where he discusses the symbolism of the “Center” - the Cosmic Tree, one may ponder whether the method of construction is linked to this symbolism. (*)

Another masterpiece built from the same essence from the floor to the columns and ceilings, interior and exterior, creating a peaceful unity is Grundtvigs Church by Peder Vilhelm Jensen-Klint.

The church, constructed from 5 million yellow bricks, was notably described in an article by the Danish Architecture Center (Dansk Arkitektur Center) (*).

This significant architectural achievement likely had a lasting influence on Danish architects. Architect Dan Stubbergaard, founder of Cobe,, discussed this structure at the Architects, not Architecture. event.(*)

Moving away a little from the religious sphere, but keeping the theme of the singularity of the material, Casa Cava architecturally restored by Renato Lamacchia, was born in a tuff quarry in Matera.

The only underground cultural center in the world, a place transformed for creativity in a pure and authentic scenery that have seen traces of man since prehistoric times and bear witness to the history of humanity, having been continuously inhabited. A different way of "building" than we are used to, which requires extraction and not addition.
A space sculpted with great skill gives the public not only a space intended for performances but a show of shapes, textures, sounds and the play of shadows and lights.(*)

(*)More in the comments

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Obviously, we can talk about the fact that brick buildings are a good #environmental, #social and financial investment.
But this time, I am more interested in the textural qualities and the relationship between the uniqueness of the craftsmanship and the aspirations of the future.

A year ago, a post from Reiulf Ramstad Arkitekter AS drew my attention, announcing the use of the famous Kolumba brick for their project, Korsgata 5 in Oslo.

It immediately made me think of the Paper Island by Cobe, where the housing's bricks are made in collaboration with PetersenTegl.
The dynamic play of colors and shadows on the facade is due to the #texture and roughness of the coal-fired #bricks. Without a doubt, the general effect is due to the use of uniquely #crafted bricks.

Going a little beyond the location of this project, we meet another project dear to me, Krøyers Plads by Vilhelm Lauritzen Architects and Cobe.
Krøyers Plads is highly #innovative and original in the facade design, taking inspiration from the red brick materiality of the surrounding old warehouses.

In both cases, it is noteworthy how in these projects with contemporary volume they integrate into the urban landscape.

Starting from Krøyers Plads which is a reinvention of industrial warehouses, we arrive at another project that has the appearance of an #industrial building - Vitra Schaudepot by Herzog & de Meuron.

Located in a rich #context sprinkled with architectural landmarks made by Zaha Hadid Architects, Kazuyo Sejima + Ryue Nishizawa / SANAA, ​​Álvaro Siza, Herzog & de Meuron and Renzo Piano among other architects, the Schaudepot building wanted to be a functional piece integrated in its context.

Having a slightly different approach in this case, the brick wall manages to create a vibration through the uniqueness and distinctive way of placing the brick.

A unique note that accentuates the materiality of the facade is given by the use of hand-broken bricks.

R. Sennett speaks very nicely in his book "The Craftsman" about deep connections between material consciousness and ethical values, and about the fact that the maker leaves a personal mark of his or her presence on the object.

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The #extension of the #library, annexed to the Renaissance-style building made by arch John Smedberg in 1905, enjoys a delightful view, King's Park, the oldest park in Malmö stad and formerly part of the Castle.
This addition, as well as the glazed surface, gives it a spectacle of nature throughout the year.
The calm #atmosphere, the wealth of books, the #quality of the light, the image of the bookshelves that merge with nature and the vast space are some of the aspects that made me always come back and adore this library.

The culture yard by AART

Also located in an important #historical area, the cultural center is housed in the conversion of the city's #historic shipyard.
The space created by the transparent facade that encompasses the historical building, not only that it works as a climate shield, but manages to create a bright #atmosphere, a constant play of lights and shadows, a visual connection with Kronborg Slot and the seafront, and a lastly, a feast of architectural details.
The constant interplay of the floors crossing the old facade of the historic building, thus creating balconies and double-height gaps creates a constant dialogue between old and new. Also, this dialogue continues through the choice of distinctive materials and solutions.

Deichman Bjørvika by AtelierOslo and Lundhagem

Still on the city's waterfront, the Deichman bibliotek/Oslo Public Library simply won me over.
With an almost simple exterior, it announces its interior show through the last level located in a splendid #cantilever of almost 20 meters.
The interior, a continuous space on 5 levels with natural lighting, manages to create diverse, intimate spaces, and a real show in the #atrium area. The internal circulation intertwines the space and envelops it, constantly offering moments of awe.
No wonder it was full on a sunny Sunday.
The visual connection to Snøhetta's Opera House is just one of the cantilevered level 4 interior highlights.
Both the cultural center in Helsingør Kommune and the library in Oslo are rated "exceptional", the most prestigious rating by Library Rating Europe.

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