De centralizing Architecture in Sri Lanka.

The only body which governs Architecture in Sri Lanka is the Sri Lanka Institute of Architects which was established in 1948. In 1976, through a private member’s motion by the then Minister of Housing and Construction, the Hon. Pieter Keuneman, the Ceylon Institute of Architects was incorporated as the Sri Lanka Institute of Architects (SLIA) by an Act of Parliament, called Sri Lanka Institute of Architects Law No.1 of 1976.

After Incorporation, the Institute was called upon to perform important public duties and to take responsibility for the education and examination of architects for the purpose of providing a professional qualification. In order to improve the services offered to the members and public,

Since then, the Institute has adopted Standing Orders, and a Code of Conduct, and has established a Board of Architectural Education to serve its members, the General Public and the construction industry of Sri Lanka.

A long overdue amendment to the SLIA Law was presented to Parliament in 1996 by the then Minister of Urban Development, Housing and Public Utilities, Hon. Nimal Siripala De Silva. The SLIA is grateful to the late Hon. Pieter Keuneman and Hon. Nimal Siripala De Silva for the kind assistance extended to further the architectural profession in Sri Lanka.

The Sri Lanka Institute of Architects (Amendment) Law No. 14 of 1996 vested power in the Institute to form an “Architects Registration Board”. With the formation of this Board in February 1997 all those who practice the profession of architecture in Sri Lanka are required to register under three categories namely “Chartered Architects”, “Architects”, and “Architectural Licentiates’.

At both the Faculty of Architecture and the City school of Architecture, Architectural education follows the same pathway it had been following since the inception of the field of study in Sri Lanka. Recently however the University has adopted a B [Arch] course instead of the B. Sc [BE] and M. Sc [Arch]. The B [Arch] was supposed to update the old system by way of reducing the period of time which a Student has to study architecture, as well as to create specialization in the field. [Of which, neither has been achieved]

At present we have professional Town Planners, Designers [Ceramic, Fashion, Jewelry, Furniture], Quantity surveyors, Urban designers, Landscape designers getting passed out from the same faculty but from different departments. Previously there wasn’t a Town and country planning department, there wasn’t a Department of Design. All who choose these professions had to come through the department of Architecture or to be qualified internationally.

Sri Lanka still seems to be lacking a university course in Interior Designing, and Project Management. Project Management how ever is offered as Masters in the University of Moratuwa both in the Civil Engineering Department as well as the Quantity Surveying Department.

The need of the Architecture curriculum to be decentralized is evermore evident as we see mushroom organizations proclaiming affiliates to foreign universities pledge prospective student a solid future in these associated professions.

The ancient, traditional cultures and languages used the same word for both builder and architect. The word Architect comes from the word Arkitekton which mean Master builder. Construction was an integrated craft. The master mason or carpenter knew how to design structures, estimate costs, assemble labor and materials, and manage the construction process from foundation to roof. With the industrial revolution came new materials, machines, techniques, regulations, etc. in order for the profession to evolve it is essential that it is diversified. In most professions we see diversification. E.g.: Doctors are classified as Gynecologist, Psychologist, and Neurologist etc. Lawyers are classified as criminal, contract etc. Engineers are classified as electronic, electrical, Mechanical etc.

If Architecture was to be decentralized or specialized we would probably see Conceptual Architects, Project Managers, Design Managers, General Designers, Specialist Designers (Airports, Hospitals, Museums), Interior Designers, Landscape Designers, Urban Designers, Digital Designers all rolled in to one single professional body. The positive side of this can be seen both from a professional perspective as well as a general perspective. At a professional level the Architect would be able to secure his place as the Team leader. Since it is the idea of the architect which initiates the whole project Architect should essentially be the Team leader. In instances where the architect is not able to ascertain his role is where we see building which bring discredit to its environment. In a general view the client would be getting exactly what he expected and what was designed without being bamboozled in to accepting what the engineer or the contractor is capable of building.

It is time that Architecture was decentralized and took its place in building the Nation as it was intended to be!

Sophia bookshop and publishing house by Nicos Kalogirou and Evangelos Kotsioris

Architect Nicos Kalogirou and student Evangelos Kotsioris have completed the interior of a book store and publishing house in Thessaloniki, Greece..

Glass panels arranged in a spiral create the shop windows and display space.

Lighting is provided through an angled, translucent glass structure hanging from the ceiling and the back-lit shelving that frames the shop counters.

Other materials include steel, silver-lacquered laminated wood panels, clear Plexiglass and grey flooring.

The interior was completed in 2008..

The following text is from Nicos Kalogirou:

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Bookshop/publishing house ‘sophia’
Thessaloniki, Greece

The transformation of a former pesticide warehouse into an inviting, ‘transparent’ bookshop and a small publishing house gave the chance to experiment with multiple glass layers, triangulated surfaces, distorted geometries and non-standard construction methods in a manageable scale.

Two vertically folded, spiraling, glass trapezoids form the labyrinth-like shop windows and a recessed entrance. Clear volumes of ever-increasing height towards the interior of the spirals serve as display surfaces on multiple levels. The multiplicity of the glass layers generates unexpected idols and multiple reflections that change dramatically according to natural and artificial lighting conditions.

The angular, winding forms of the two service stalls result from the distortion of an initially rectangular, 15m. long, linear piece (as requested by the client). Their geometry is complimented by the sphenoid forms of a custom-made, back-lit trapezoid shelf system that stands behind them. Stalls and shelves direct visually to the inner part of the elongated plan.

A triangulated back-lit ‘cloud’ surface hanging from the double-height void acts as a lighting body. The angled steel and glass staircase leads to an interior balcony with an office (overlooking directly the entrance below) and a small conference room.

To maximize construction time, singular pieces were cut by CNC (computer numeric control) machines while the seemingly singular elements of the shelf system are actually the result of an irregular placing of 3 shelf units that create single and double height shelf surfaces. Additionally, all internal vertical support elements of the stalls are broken down to only 2 repeated pieces. Above: stalls

The biggest part of the low budget was used in favor of the clear and translucent safety glass while for the rest of the elements the following rough materials with minimum treatment were chosen; uncolored protected steel, rough silver lacquered laminated wooden panels, clear Plexiglas and reflective heavy-duty industrial flooring in light gray. Above: shelves

Above: shelves elevation

Above: ground floor plan

Designer details
Designer: Nicos Kalogirou, Evangelos Kotsioris
Name of photographer: Nicos Kalogirou
City: Thessaloniki
Country: Greece

Moxon Architects Hedgehog building

Last week, Moxon Architects announced that permission was granted to construct the Hedgehog building, also known as 163 PRS / Olivers Place. The 40,000 square foot office building is located in Prestons, England.

the primary architectural expression of the building is through an array of anodised aluminium fins, cantilevered from vertical support brackets on all four façades of the building. The aluminium fins, are all oriented in the same direction.

Seen at designboom.. More images after the break.

Dubai Ice Rink

The Mall's Dubai Ice Rink multi-purpose venue, uses refrigeration plant technology by developing 1.5 inches (38 mm) of ice bed, almost 3 times the thickness of an NHL ice rink for Olympic-sized attraction. Dubai Ice Rink can host a capacity of up to 2,000 guests, when converted into a multi-functional hall with world-class multimedia system including a 20 m × 10 m LED screen. Operations Manager, Richard Rowlands, a 7 years Welsh figure skating pairs, described it: "Dubai Ice Rink in itself is an exciting facility, bringing the first-ever Olympic-sized ice rink to Dubai. A top-class facility offering the best of, including over 1,800 pairs of skates imported from a leading manufacturer in Italy to fit children and adults of all ages and sizes, the Dubai Ice Rink will host themed nights, Learn-to-Skate programmes, figure skating lessons and hockey matches.The advanced technology used at the Dubai Ice Rink ensures that the consistency of the ice-bed is maintained at all times. By incorporating the refrigerator technology of pushing in glycol through a network of pipes, and monitoring the cooling over a period of five to six days, the 38 mm ice-bed is tailored to withstand multiple activities in a safe environment."

We in Sri Lanka also would have had one of these if the proposed Realty plaza, Nawala had come up.

New Acropolis Museum by Bernard Tschumi Architect

New Acropolis Museum in Athens, Greece, designed by Bernard Tschumi Architects will open in June.

The museum will provide a permanent house to archaeological treasures from the Acropolis. Top image: main entrance lobby. Photo by Nikos Daniilidis. Above: exterior. Photo by Christian Richters.

Glass walls will allow exhibits to be viewed in natural light, as they would have been seen in ancient times. Above: view from the archaeological excavations, looking up to the ground level. Photo by Christian Richters.

More than 100 concrete pillars support the building over the remains of an ancient Athenian city, discovered during pre-construction. Above: outside ground level, looking down at the archaeological excavations. Photo byNikos Daniilidis.

Above: statues from the Porch of the Caryatids welcome visitors. Photo by Vasilis Vrettos.

Above: looking towards the Acropolis from the Parthenon Gallery, prior to installation. Photo by Christian Richters.

Above: view of the Parthenon from outside the New Acropolis Museum. Photo by Bernard Tschumi Architects

Above: a view of the New Acropolis Museum from the Acropolis.

Here’s some more information from the architects:

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THE NEW ACROPOLIS MUSEUM, DESIGNED BY BERNARD TSCHUMI ARCHITECTS, TO OPEN JUNE 20

New York, NY, April 7, 2009 — The historic masterpieces of the New Acropolis Museum—from the archaeological remains of ancient Athens left visible beneath the building to the glorious Parthenon frieze installed at the top— will be displayed in total for the first time when the Museum celebrates its much-anticipated official opening on Saturday, June 20, 2009.

Designed by Bernard Tschumi Architects of New York/Paris with Michael Photiadis of Athens as local associate architect, the Museum has presented a number of temporary exhibitions in a lower-floor gallery over the past year. With the official opening, visitors will at last view the full suite of galleries, presented in a dramatic architectural experience designed explicitly for this collection.

With more than 150,000 square feet of exhibition space—ten times more than the previous Acropolis museum—the New Acropolis Museum will display surviving antiquities from the Acropolis and serve as a catalyst for strengthening international interest in the classical world. The 226,000 square foot Museum is both a defining cultural project for Greece and a key reference point for the art community around the globe.

To present the unparalleled collection, architect and lead designer Bernard Tschumi created a deliberately non-monumental structure whose simple and precise design invokes the mathematical and conceptual clarity of ancient Greek architecture.

“The form of the building arose as a response to the challenges of creating a structure that was worthy of housing the most dramatic sculptures of Greek antiquity, and doing so in an overwhelmingly historic and monumental setting,” explains Tschumi. “The site at the foot of the Acropolis confronted us with the Parthenon itself, one of the most influential buildings in Western civilization. At the same time, we had to consider the sensitive archaeological excavations, the presence of the contemporary city and its street grid, and the special challenges of the hot climate in Athens and an earthquake region.

Located in Athens’s historic area of Makryianni, the New Acropolis Museum stands less than 1,000 feet southeast of the Parthenon, at the entrance of a network of pedestrian walkways that link the key archaeological sites and monuments of the Acropolis.. This location was carefully selected to enable a dialogue between the Museum’s exhibition spaces and the Acropolis buildings. Tschumi won the commission in 2001 as the result of a design competition judged by a prestigious jury of architects, engineers, and archaeologists, chaired by Santiago Calatrava.

“The design was chosen for its simple, clear, and beautiful solution that is in accord with the beauty and classical simplicity of the Museum’s unique exhibits and that ensures a museological and architectural experience that is relevant today and for the foreseeable future,” stated Professor Dimitrios Pandermalis, President of the Organization for the Construction of the New Acropolis Museum.

During pre-construction, archaeologists discovered the remains of an ancient Athenian city, excavating over 43,000 square feet. These remains have been preserved and integrated into the Museum design and are an important part of the visitor experience.

The building is articulated in three layers, with a base, a middle zone, and a top. The base hovers over the excavation site on more than 100 slender concrete pillars, which have been individually positioned with the help of experts so as not to disturb the delicate remnants. This level contains the main entrance lobby and temporary exhibition spaces, as well as openings and glass floors looking onto archaeological excavations.

A glass ramp leads to a double-height space in the middle section, which accommodates the permanent collection galleries from the Archaic to the late Roman period, and a mezzanine level with catering venues and a public terrace.

The building culminates in the Parthenon Gallery, a rectangular, glass-enclosed, sky-lit space that is rotated 23 degrees from the rest of the building so as to align with the Parthenon. The gallery’s glass outer walls allow visitors uninterrupted, 360-degree views of the ancient temple and the surrounding city. In the center of the Parthenon Gallery, the rectangular concrete core of the Museum serves as the wall on which the Parthenon frieze is exhibited, placed in the exact same arrangement and orientation as when it adorned the monument.

The route through these layers forms a three-dimensional loop, guiding visitors through the collection, which is installed in chronological sequence. Beginning with the archaeological excavations, visible through the glass floor in the entrance gallery, the sequence reaches a programmatic high point with the Parthenon Frieze, set in a gallery at the top of the building against dramatic views of the Acropolis, and then loops down to finish in the Roman Empire galleries below. The sequence of movement through the Museum’s exhibitions is designed to be of the utmost clarity and to accommodate the large groups of visitors expected daily.

The collection of the New Acropolis Museum consists principally of sculptures, many of which originally decorated the monuments of the Acropolis. These works were created to be viewed in daylight, illuminated by subtle changes in light throughout the day. Extensive use of glass in the building’s design allows the integration of natural light into the galleries, thus ensuring similar exhibition conditions. Ambient natural light floods the top-floor Parthenon Gallery and is filtered through the gallery’s glass-floored atrium into the floors below. Skylights, walls of shaded glass, and rectangular openings also help light flow through the building.

Throughout the New Acropolis Museum, glass, concrete and marble have been used to complement the simplicity of the overall design. Concrete provides the main building structure and acts as a neutral backdrop for the artwork. Circular holes have been placed at intervals throughout the concrete walls in order to absorb sound. Local marble has been used on the floors, with dark stone used for circulation and light beige for the galleries.

The New Acropolis Museum features galleries for the permanent collection, galleries for special exhibitions, a 200-seat auditorium, a multimedia space, a Museum store, a bar and restaurant, and support facilities. It is surrounded by 75,000 square feet of landscaped gardens. The overall project budget for the Museum was €130 million, or approximately $175 million.

Bernard Tschumi Architects
Bernard Tschumi Architects is an internationally- based firm dedicated to the interface between 21st-century conditions and architecture. Opened with the commission for the celebrated Parc de la Villette in Paris (begun in 1983), completed projects by the firm include Le Fresnoy National Studio for Contemporary Arts in Tourcoing, France (1997); Columbia University’s Lerner Hall Student Center in New York (1999); an 8,000-person Concert Hall and Exhibition Complex in Rouen, France (2001); Florida International University School of Architecture in Miami, Florida (2003); the Vacheron-Constantin Headquarters and Manufacturing Complex in Geneva (2004); the Richard E. Lindner Athletics Center at the University of Cincinnati (2006); a 6,000-seat Concert Hall in Limoges, France (2007); and Blue Tower, New York (2008). Between 2006 and 2008, Bernard Tschumi Architects designed comprehensive master plans for the Independent Financial Centre of the Americas in the Dominican Republic and new media zones in Singapore and Abu Dhabi, UAE. Currently under construction are a cultural center in Bordeaux-Cenon and a museum and archaeological park in Alesia, France. Architect and lead designer for the New Acropolis Museum, Bernard Tschumi founded Bernard Tschumi Architects in 1983, after winning a competition to design the Parc de la Villette, a 125-acre public park containing dramatic buildings, walkways, bridges and gardens, located at the northeast edge of Paris. A renowned theorist as well as an architect, he was Dean of the Graduate School of Architecture, Planning and Preservation at Columbia University in New York from 1988 to 2003. He is the author of ten books, including the Event-Cities series and Architecture and Disjunction, as well as numerous articles.

Tschumi is a member of the Collège International de Philosophie in France and the recipient of many honors, including the Légion d’Honneur, the Ordre des Arts et Lettres and the Royal Victoria Medal. He has been awarded France’s Grand Prix National d’Architecture and the AIA New York Gold Medal of Honor. He is an International Fellow of the Royal Institute of British Architects. Most recently, he was awarded membership in the prestigious College of Fellows of the American Institute of Architects. www.tschumi. com

New Acropolis Museum Collection
The rich collections of the New Acropolis Museum, dating from prehistoric times through to the Archaic, Classical, Hellenistic and Roman periods and up to late Antiquity (1,000 B.C. to 700 A.D.), will provide visitors with a comprehensive picture of the centuries-old human presence on the sacred site that represents the essence of classical culture in antiquity. With approximately 4,000 objects, of which at least 300 are considered major masterpieces, the opening of the New Acropolis Museum marks the first time that the collection will be displayed together in one museum, telling the complete story of the Athenian Acropolis and its foothills. At the same time, the extensive remains of the ancient Athenian city revealed on the Museum site by pre-construction archaeological excavations will also grace the museum exhibition program with rare, original testimonies of the private lives of the ancient Athenians who lived in the shadow of the Acropolis

Proposed Road Construction Projects in Sri Lanka

Colombo-Katunayake Expressway ready by 2012

Colombo-Katunayake Expressway ready by 2012

Shirajiv SIRIMANE

The first stage of the long over due Colombo-Katunayake Expressway (CKE) will be completed by 2012 and would be operated as a toll expressway in Sri Lanka.

The length of the expressway would be around 25 kilometres starting from the New Kelani Bridge (NKB) and ending at the Airport Access Road (Canada Friendship Road) at Katunayake.

The prime objective of the project is to create a high mobility link between the Colombo and the Katunayake International Airport enabling motorists to travel to the Airport from NKB in just 20 minutes.

Currently the travel time is around 90 minutes from the existing Peliyagoda-Puttalam (A3) Road.

There will be three Interchanges (IC) at Peliyagoda, Ja-Ela and Katunayake while the fourth Interchange would be constructed at Kerawalaptiya with the implementation of the proposed Outer Circular Highway.

"The section of the expressway from NKB to Peliyagoda Interchange will have three lanes in each direction while the rest will have two lanes," said Project Director, CKE, M.P.K.L. Gunaratne.

The expressway will be designed for a speed of 80 km/hour for the section from NKB to Kerawalaptiya and 100 km/hour for the remaining section.

"The CKE will have all the facilities and provisions in complying with the international expressway standards," he said.

There will be a toll charged from the motorists using the expressway and it is expected to be around Rs. 200. Central Environmental Authority approval has already been granted for the project and the road trace has been selected mainly along the Muthurajawela marshes to avoid the large-scale demolition of buildings. Special methods will be adopted to construct the road embankment in marshy areas due to the prevailing weak soil conditions. Sea sand, which has been already dredged, will be used in stabilising the weak soil.

The land acquisition and resettlement work are in progress and a sum of over Rs. 1.6 billion has been spent in compensation for the acquired lands. Over 700 families have been already resettled.

CKE is also using the two overhead bridges that were built in 1976 for the Non-Aligned Summit thus saving a colossal amount.

"As a result of motorists using the expressway the A3 Road would have less traffic leading to higher speeds and less accidents.

In addition container traffic would move faster resulting in industrial development," he added.

The project initially commenced in 2003 but was halted due to lack of funds. During that time the project was funded with local capital and this time around Chinese credit has been secured for the project. One of the biggest development projects in the country, CKE would see an investment of over Rs. 37 billion with 85 percent of the funding coming from China Exim Bank.

China Harbour Engineering Company will be in charge of the construction that had been awarded on a Design and Build Basis.

Ground Zero towers face 20 year delay, says report

24 April, 2009

By Anna Winston

Richard Rogers and Norman Foster’s towers for New York’s Ground Zero site may not be completed for another 20 years, according to a leaked report commissioned by the city’s Port Authority

The report, by real estate consultant Cushman & Wakefield, claims the New York property market cannot support the extra 700,000sq m of commercial space that developer Larry Silverstein’s three towers would create on the 6.5ha site.

It suggests that Tower 3, by Rogers Stirk Harbour, would not be built until 2030, finally being fully let in 2037, while Tower 2, by Foster’s, could be built by 2013 and not be fully let until 2026.

Work on the third tower, by Japanese architect Fumihiko Maki, has started on site, as has that on SOM’s Freedom Tower, now being developed by the Port Authority.

Despina Katsikakis, group chairman of office specialist DEGW, called the report a wake-up call for the industry.

“The whole building industry needs to rethink what the role of office space is,” she said.

“Maybe because New York has been at the forefront of this recession, the messages are coming out of there first. But how much of Canary Wharf will be empty? How much of London’s planned office buildings are really needed in their current manifestations?”

The Port Authority, which leases the World Trade Centre site to Silverstein, commissioned the report after Silverstein reportedly asked the organisation to act as “backstop” on a financial agreement for the buildings.

Foster’s and Rogers’ towers had already been delayed indefinitely after the authority failed to prepare and hand over the construction site according to the schedule agreed with Silverstein.

Rogers Stirk Harbour and Foster’s both refused to comment, but Janno Lieber, president of Silverstein’s World Trade Centre Properties, said: “Our view — and that of city leaders and many other experts — is that New York will bounce back strongly over the next five years while we are building”.

Mercabarna-Flor by WMA

This is a very colorful architectural project I came across, obviously not in Sri Lanka ! :)

Willy Müller Architects have designed a flower market in Barcelona, Spain (via Yatzer).

The zinc roof and walls are covered with geometric patterns, intended to evoke an aerial view of cultivated-flower fields.

A multicoloured band of striped panels wraps around the structure. Above and below photos by Ricardo Loureiro.

The building contains three different markets selling cut flowers, plants and accessories.

It also includes offices, two floristry education centres, an events space and parking.

Photos by Jordi Puig except where stated otherwise.

The text below is from WMA:

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New Flower Market – Mercabarna-Flor - Barcelona

Mercabarna has opened the new building for the flower market Mercabarna-Flor, an innovative market for flower, plant and accessory wholesalers. The market aims to become one of the principal markets in Catalonia and the rest of Spain, and a reference for facilities on European level.

The project of the market maintains in its exterior façade the archetypical image of traditional markets, in which the roof turns into the real protagonist, like an icon of public architecture. The roof of the new market consists of a combination of folds between the floor, the wall and the roof, dissolving those elements to create entrances, loading zones or protected areas around the entire perimeter of the building.. Its analogy with a shell gives the building an organic character that is associated with the activity and movement that is happening on the inside.

While the roof is the big integrating element of this market, in the interior three conceptually different markets are located each of them with its own specific characteristics and logistic and technical conditions, according to the product on sale.

One part is meant for the Cut Flower Market, with modern industrial cooling systems, where the temperatures can be maintained between 2˚C and 15˚C, since the product has a fast turn over with a selling time of only three days. Above photo by Ricardo Loureiro.

On the other end of the complex the Plant Market is located, designed with heating systems with a radiant industrial floor, one of the biggest in Europe with 4000m². It has passive cooling systems that introduce humidity, which guarantee that the temperatures will never be below 15˚C, or above 26˚C, especially designed for the needs of this product that requires more selling time, about 15 days. This means that besides being a vending zone, this sector is also a storage zone or greenhouse during this period of time.

Finally in the middle of these two opposite sector the Accessory Market is located, an especially delicate sector, because of its elevated fire risk, due to fact that they work with dried flowers and that the sale requests a considerable storage area. This subsector has especially been designed to detect and extinguish fires, based on the experience that in a traumatic way forms part of the history of the Market, which caught fire and was destroyed in the year 2001.

The complex also includes 500 parking spaces, a loading zone, a gastronomic restaurant, which has the capacity to turn into a reference amongst the offer on the highway of Castelldefels, an office zone and two florist education centers and in addition a multipurpose space for events.

From the point of view of location this building is framed within a series of singular operations with a marking architectonic character, which are being carried out between Plaza España and the new terminal of the Airport, like the works for the Fira de Barcelona (Fair of Barcelona) by Toyo Ito, The Hesperia Tower by Richard Rogers or the new international terminal by Ricardo Bofill.

The building claims to transmit an iconic value that is marking its public use. A skin has been designed that besides its formal language and its special character based on folds, expresses several characteristics of identity related to the activities of this sector. Following this concept, the big zinc roof that covers the whole market is designed with parallel linear geometries with different tones in a nonsymmetrical way, imitating the aerial view of the cultivated flower fields, marked by a big frame with a multitude of colors that descends and rises to organize entrances along the building, a distinct movement and graphic image that is in line with this Flower Market.

NUEVO MERCADO CENTRAL DE LA FLOR - MERCABARNA-FLOR

Site: Mercabarna, Sant Boi de Llobregat, Barcelona
Competition date: (restricted) 2002, first prize
Execution: 2005/2008
Area: 15.000 m2
Cost: 9.200.000 euros
Developer: Mercabarna

Architects : WMA - Willy Müller Architects
Willy Müller, Principal Architect
Frédéric Guillaud, Associate Architect

Architects: Caterina Morna,Rupert Maurus (modelos 3D), Isabella Pintani, Valeria Santoni, Bruno Louzada, Fransisco Villeda, Iris cantante, Marco Loperfido, Mara Cascais, Sabine Bruinink, Mario Perez Botero.
Collaborators: Sérgio Pinto, Ricardo Amaral, Joana Lagès, Anne-Irène Valais, Christof Larbig, Jean-baptiste Scharffhausen, Deborah Schor, Jetske Kox, Andre Mota, Andres Ferner, Kelly Hendricks, Christian Lasch, Martin Ober-Hascher, Anja Summermatter, Kelly Klein, Gilda Camacho, Sérgio Ramos, Elke Gall.

Consultant structure: Area 5.
Consultant installations: Greccat.
Constructor: Iconsa

Project pictures and virtual images: WMA – Willy Müller Architects
Model pictures: Adria Goula Sarda