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Uudisrakennus sijoittuu golfkentän, luonnonsuojelualueen ja reunustavien liikenneväylien risteämään. Rakennuksessa on 1-2 maanpäällistä kerrosta. Korkeammat rakennuksen osat sijoittuvat nopeammin liikennöitävän Sinimäentien suuntaan. Matalat ja pitkät julkisivut on visuaalisesti jännitetty kaarevin osin. Arkkitehtuurissa on pyritty Tapiolalle ominaiseen vaaleuteen ja yksinkertaisuuteen, jossa tehosteina on käytetty puupintoja.

Hankevaihe: Helsingin hallinto-oikeus on päätöksellään 11.11. 2008 hylännyt golfkenttää ja puistoa koskevasta Kiiltokallionpuiston ja Turvesuonpuiston asemakaavasta tehdyt valitukset. Yksi jatkovalitus on tehty korkeimpaan hallinto-oikeuteen. KHO käsittelee asiaa syksyyn 2009 mennessä. Lisätietoja hankkeesta verkkosivulta: www.tapiolagolf.fi

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Etelä-Keravan vesitorni 2001-2002 avoin arkkitehtikilpailu
Jury hyväksyi kilpailuun 186 nimetöntä ehdotusta. Tavoitteemme oli luoda rationaalinen veistos jolla heijastetaan veden dynamiikkaa ja luodaan selkeä maamerkki Lahden moottoritien varteen. Rakenne perustuu kolmeen hyperbeliseen paraboloidiin jotka muodostavat kantavat teräsbetoniset seinät. Torni on noin 53 m korkea ja päällystetty hiotulla alumiinilla.

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Out of 126 applications 23 participants from 10 countries were short-listeted to participate.The purpose was to find ideas for the architectural possibilities of developing an Audiovisual Lab for and on the premises of Leipzig Academy of Visual Arts originally built in 1889 in the style of classisism.

NEW MEDIA IN HISTORICAL SETTING
The story of a Greek painter Zeuxis and his competition with Parrhasius started the era of illusion in the Western art. According to the story he painted grapes so skilfully that birds tried to eat the painted vine. Today the competition goes on in yearly conventions of SIGGRAPH by RealityEngines. New media is getting tools to operate between philosophically phenomenal and noumenal worlds, creating illusion. That process requires co-operation and communication: a nodal point for creation, a meeting place.

NEW BUILDING IN HISTORICAL SETTING
Both new architecture and new media are culturally and historically bound. By their appearance they may respect, contrast or question their origin. When born they join the heritage that will influence yet unborn works of mankind, reflecting their own time of creation. Life spans vary from milliseconds of a single frame to hundred years of a building. New media is connector of various arts and artists hence the new building implementation should reflect this character in open, interesting and inviting manner. But no building is open if there is no functional reason to enter; a glass façade can be more distant and closed than solid stone.

DESIGN PRINCIPLES
The approach is based on two interacting factors: constant and variable. The constant is to give shelter to functions. The variable is the distribution of functions. The constant derives its principles of symmetry and structural repetition of the historical setting of The Music Quarter. The urban scale balance of empty and full volumes is preserved. The variable seeks to answer the altering functional demands of present and future. As a natural consequence of the changing nature of digital media and its forms the architectural response is flexibility but also humanity.

FUNCTIONAL DISTRIBUTION
The proposed nature of the functional division into Public- and Limited-Access zones is time resisting basis for further design. The future changes operate within the zones but the need for both open and more closed working spaces remains. The public spaces are situated in the two top floors as the division of these spaces can be treated lighter than in the visually and acoustically more separated limited-access working rooms. The public floors consist of movable workstations and can be opened up to form larger space for new media theatre, debate, openings, spatial art installations or lectures. The Recording room can be connected to the Gallery through movable part of its floor. The southern façade can be used both internally and externally as a screen. Giving a reason to enter and exhibit.

STRUCTURE, ECOLOGY AND LIGHT
The load bearing structure of the extension is made of steel and wood and is based on beams and arches. This enables future changes in the room divisions. Glass is used on the roof to provide natural lighting into the building and to preserve the lighting conditions of the central light well. The corridors are used as ventilation ducts and light shafts. Wood was selected due to its contrasting anti-technological nature, low energy content and its instrument-like acoustic properties when used in combination with heavier materials. Use of wood especially concentrates on the areas prone to future changes such as the division on the limited access zone. The cable ducts are integrated into the floor slabs, ventilation ducts run along the central axis of the extension.

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Mangansala peninsula is situated in the Daugava mouth of Baltic sea in Riga, Latvia.

The main attraction of the peninsula is its exceptional nature and different types of water and coast:

1. BALTIC SEA

Beach and dunes – in the future the dune area is preserved as it is, recreational use of the area is enhanced.

2. RIVER DAUGAVA

Heavily treated port and industrial area – in the future when the use is changing, riverbank can be designed as a public marina with boulevard and recreational facilities. There can be exclusive riverside housing up to 5 levels.

3. VECDAUGAVA

Natura 2000 protection area with a lot of birds and reed – in the future there can be a nature path and the small motor boat marina of the new Mangansala housing area.

4. NEW CANALS

People are offered contact to the water just next to the houses. Residents have a possibility to keep their private boats even next to the apartments.

It is very important to offer public accessibility to all these water areas and possibility to walk around the peninsula.

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Connection to the city structure
The proposal creates a living, public green zone that is connected to the expanding and existing city by experience full light trafic network. South-North connections join the park and the square to the existing city and to the proposed public shore zone of the city expansion. West-East connections provide a direct escape and an adventurous entry to the park valley world and creating a light trafic connection between the city districts. The central Square of Europe participates in the axiology of the city by forming a visually smooth end to the park alignment of the extension and guides the flow of people by natural circular routes.

The functional compass of the area
The protective valley topography creates a spatially changing escape from the city life – a safe nest. Active and participate functions are located on the east side of the valley and a quiet path on the western side. Thus experiencing the park quietly or adventurously or in turns is made possible. The park activities change from the physicality of the South to more spiritual in nature as moving toward North – challenging the thought and creativity.

The Square of Europe
Europe is symbolized as a topographically defined area and at the same time a new type of an experience full city square is created. Smoothly ascending and descending circular topography unifies and separates. The square is designed as a time-movement responsing experience that consists of three cruxial event elements:

1. The exterior – when approaching the square is a sofly bordered graphic landscape that invites to enter and guides the movement flows.
2. The interface- As ascending the gentle slope the panoramic views to the park and to the both sides of the city open.
3. The interior – As descending toward the centre the surrounding active event horizon is gently closed and the visitor becomes part of the inside events and non-events.

Площади Европы в Санкт-Петербурге
Описание предложения: Земля и Свет – Живая Европа