Hasta La Ideas

A five-sided pavilion made from pale sandy brickwork leads inside this former textile factory in Kortrijk that Belgian studio 51N4E has converted into an arts centre.

The Buda Art Centre accommodates studio and exhibition spaces for artists in residence across all three floors of the old Budafabriek, the last remaining structure of the Desmet-Dejaeghere textile factory on Buda Island.

The architects were keen to retain traces of the building’s history, so they left much of the interior unchanged and concentrated on inserting just two new pentagonal spaces.

The first pentagon is the pale-brick entrance pavilion, which contrasts with the dark red tones of the existing factory buildings. The structure twists away from the neighbouring facades and points out towards the road, but it has no roof, encouraging anyone inside to look straight up to the sky.

“The shape [of the pavilion] creates a friction between the existing buildings and the new intervention,” 51N4E‘s Paul Steinbrück told Dezeen. “Even though it gets very close to the surrounding buildings, it doesn’t touch them at any point. It is not an open space and not a building.”

Above: photograph is by Paul Steinbrueck

For the second pentagon, the architects hollowed out a space at the centre of the factory to create a triple-height atrium connecting all three floors. A new staircase winds around the walls, while clerestory glazing and a large skylight brings natural light through to the studios and galleries. “The vertical space creates a visual understanding of the building,” added Steinbrück.

Stairs also lead up to the roof the building, where an expansive roof terrace offers a view of the River Leie and the city skyline beyond.

“The Buda Art Centre is a new type of cultural space,” conclude the architects. “Making reference to its past, it remains a workshop of production. The warm palette of colours and the series of rather informal spaces invite people to appropriate and discover the building for their own production, exhibition and casual interaction.”

Above: photograph is by Paul Steinbrueck

Also this week, Czech studio Atelier Hoffman revealed images of a riverside coal mill converted into a studio and exhibition space. Other artists’ studios we’ve featured include a pointy gallery and studio in Japan and a series of cabin-like studios on a picturesque Canadian island. See more artists’ studios on Dezeen.

Photography is by Filip Dujardin, apart from where otherwise stated.

Here’s some more information from 51N4E:

Buda Art Centre
51N4E

The last remaining textile factory on Buda Island – an area destined to become the cultural heart of the city – has been transformed into studios and exhibition spaces for artists in residence. This large volume, situated in the middle of a city block, has been adapted through two main interventions.

Above: photograph is by Paul Steinbrueck

The first hollows out a large void in the centre of the building, bringing daylight deep into the vast floor plan. This pentagonal void houses a public staircase that gives access to a diverse range of spaces on four levels: a laboratory for manufacturing, multifunctional spaces of varying sizes and lighting conditions, music venues and a roof terrace. The biggest part of the structure is reused. Besides saving resources, the reuse allows for a large cultural building within a limited budget.

The second intervention adds an open pavilion as an entrance hall from the street. Built from the yellow brick discovered in the original interior, this pavilion becomes the new facade of the complex: the tip of the iceberg. The pavilion itself functions as an antechamber, giving a foretaste of events inside.

The Buda Art Centre is a new type of cultural space. Making reference to its past, it remains a workshop of production. The materials and details make it an approachable space for all kinds of activities and users. The warm palette of colours and the series of rather informal spaces invite people to appropriate and discover the building for their own production, exhibition, and casual interaction.

While the majority of the building is hidden from its surrounding context, the roof terrace provides a sudden confrontation with the city of Kortrijk. The building is a tool to look, not an object to look at. It avoids becoming an image but instead creates an environment.

Project name: Buda Art Centre
Name of building in use: Budafabriek
Location: Kortrijk, Belgium

Programme: exhibition & event facilities, artists’ studios
Built surface: 4.240 m²
Budget: € 2.000.000

Design period: 2005 (competition) – 2007
Construction period: 2010 – 2012

Above: section – click for larger image

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by 51N4E appeared first on Dezeen.

Polish studio Ingarden & Ewý has slotted a theatre and library around the nineteenth century structure of a former horse-riding arena in Kraków (+ slideshow).

Bringing together two existing organisations, the Małopolska Garden of Arts (MGA) contains both the Małopolska Voivodeship Library and the Juliusz Słowacki Theatre that had been already been using the old building as a venue for workshops.

Architects Krzysztof Ingarden and Jacek Ewý extended the building to create a T-shaped plan, surrounded by a glass curtain wall with a cloak of chunky clay louvres.

This stripy cladding was designed with an uneven profile to mirror the shapes of surrounding buildings. Ingarden describes this as a game between “mimesis and the abstraction”, meaning that the building both refers to its context and is distinctly different from it.

The library occupies the western wing of the T-shaped plan, while the theatre stretches north to south, beside a large indoor garden filled with benches, planting beds and a maple tree.

Partially sheltered beneath a skeletal roof, this space is open to the public and was designed to “transport the gateway to the stage out onto the street” and hence entice visitors into the theatre, cinema, events room and cafe.

The library has its own entrance and contains three floors of reading rooms and study areas that face out onto a pedestrian passageway along the side of the building.

Ingarden & Ewý won a competion to design the Małopolska Garden of Arts back in 2005 and it finally opened to the public last month.

It was also recently awarded the Janusz Bogdanowski Award for making the greatest contribution to architecture in Kraków in 2012.

See more projects in Poland, including the world’s narrowest house and a sports centre with rooftop tennis courts.

Photography is by Krzysztof Ingarden.

Here’s more information from Ingarden & Ewy

The building of the Małopolska Garden of Arts (MGA) has been constructed according to a competition-winning (Union of Polish Architects, SARP 2005) design by Ingarden & Ewy Architects. The initiative of establishing a new cultural institution in Kraków was proposed a year earlier by Krzysztof Orzechowski, Director of the Juliusz Słowacki Theatre and Janusz Sepioł, at the time the Marshal of the Małopolska Region. It is no coincidence that the building was raised in the vicinity of ul. Karmelicka – a street popular with students and locals alike – opposite the building of the public library, with the aim of ensuring its smooth inclusion into the “bloodstream” of the city.

The building of MGA introduced new spatial order to the old backyards and ruined buildings in Rajska and Szujskiego streets in Krakow. The starting point was a multifunctional hall, which was entered into the outline of the old, 19th-century horse-riding arena, used in the last years of its history as workshops and storage space for the Juliusz Słowacki Theatre in Kraków.

The Małopolska Garden of Arts is a cross between two institutions: the Juliusz Słowacki Theatre and the Malopolska Voivodeship Library. The wing on Szujskiego Street holds a modern art and media library, with multimedia books and music, while the section standing on ul. Rajska has been developed by the theatre, and is equipped with a multifunctional events hall. The new hall – operating, as a studio theatre, conference room, concert hall, and venue for banquets and exhibitions – holds retractable stages for 300 people. State-of-the-art stage technology is present overhead: fixed on hoists and cranes to the steel ceiling girders. This allows dramas and concerts to be performed, and exhibitions, film screenings, symposiums, conferences, art auctions, fashion shows, and many more events to be held. Altogether, the space of about 4300 sq.m houses a theatre together with a cosy cinema with 98 seats, a café, and premises for the organisation of educational, art-related activities.

Honing the form, the architects focused on interaction with the future recipients, which is why the entire spatial form of the symbolic, openwork roofing raised over the garden from the side of Rajska Street – though not functioning as an actual roof – is there to transport the gateway to the stage out onto the street. In this way, the building delicately nudges passers-by with the skilful manipulation of the form, already at first glance giving the onlooker the impression of going beyond the borders of a garden, where culture is grown in evenly planted rows. Further proof of the sophisticated play with the space is the garden itself. Imitating flower beds, the equal bands with low greens are a metaphor of a garden: as much as the architects could afford here. A notable fact is that historically “ulica Rajska” – literally “Paradise Street” – led to the Garden of Paradise, which was later replaced by the developments of the Tobacco Works.

Architect Krzysztof Ingarden (collaborating with Jacek Ewý), claims that the form of the building is a contextual game between “mimesis and the abstraction”. In practice, this means that the building is by no means a simulacrum of the context, but rather draws inspiration from the code of contextual forms by making references to the geometry of the roofs and tissue of the neighbouring structures applied for the abstract geometrical compositions of the façades. The building fits the scale of its environment perfectly by maintaining the lines of the roof and divisions of the façades in line with the composition and linear solutions of the neighbouring buildings.

The final impact is the result of the designers’ sensitivity to signals coming from the environment. For example, the opening in the perforated roof of the garden was formed, especially for the maple tree that grows there. In recognition of its exquisite sense of spatial composition and creative form in historical context, the building was awarded with the Professor Janusz Bogdanowski Prize, for the best architectural achievement in Krakow in the year 2012.

In this place, the cultural life of the Kraków’s young artistic set will blossom under a shared roof. Modern ballet, contemporary theatre forms, audio and video arts, concerts, and all and any other artistic pursuits will find their home here.

Above: computer rendering

Above: basement plan

Above: ground floor plan

Above: first floor plan

Above: section A-A – click above for larger image

Above: section B-B – click above for larger image

Above: section C-C – click above for larger image

Above: section D-D – click above for larger image

Above: section E-E – click above for larger image

Above: west elevation – click above for larger image

Above: south elevation – click above for larger image

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by Ingarden & Ewý appeared first on Dezeen.

MAYU Architects designed eleven huge funnels to protect visitors from extreme weather conditions in the outdoor spaces of this cultural centre in Taiwan (+ slideshow).

Located in Kaohsiung, the Dadong Art Centre sits between the park and the historic Fengshan city and comprises four buildings – a theatre, an exhibition centre, a library and an education centre.

The shelter folds around the edges of the theatre and exhibition centre to create public spaces that can also be used for dance, Tai-Chi and other games, which the architects say occur frequently on the city streets.

“The roof shape prevents against extreme climatic conditions such as typhoons, periodically strong rain and high summer temperature,” they explain.

During heavy rain, some of the downward pointing funnels channel water down into concealed springs, letting it drain away naturally.

When the temperature is high, hot air is drawn up though the funnels, keeping the spaces naturally ventilated.

Glass diamonds create criss-crossing patterns across the concrete exterior walls.

The theatre is the largest of the four buildings and contains a timber-clad auditorium and a rehearsal hall.

“In order to achieve optimal acoustics in both music and theater use, the ceiling of the auditorium is adjustable,” say the architects.

We’ve also featured a school in Vietnam designed around the weather and a Japanese house with a protective shield for typhoons.

See more projects in Taiwan »

Here’s some project details from the architects:

Architect: MAYU architects (Malone Chang & Yu-lin Chen) + de Architekten Cie
Client: Kaohsiung City Government
Location: Kaohsiung, Taiwan

Project Team: MAYU: Malone Chang & Yu-lin Chen (Architects), Kwantak AUYEUNG, Yachih KUO, Fenlan CHEN, Mavis LIU, Yayun WANG, J. Hsiu, J. Yang, W. Lo, Y. Mai, C. Chen, Y. Lee, H. Shen, I. Shr, Y. Huang, R. Huang, B. Guo, S. Wang (Project team), Wei Cheng LI, Yonghao CHEN, Chih-Hung WANG, Wanzhen CHEN, Qi Yang HUANG, Binghong MA (Construction supervision)
CIE: Branimir Medić & Pero Puljiz (Architects), V. Ulrich, T. Cheng, L. Cvetko, H. Gladys, C. Eickelberg, M. A. Rival (Project team)

Program: 800-seat multi-purpose theater, 150-seat rehearsal hall, 4,000 m2 art education centre, 1,900 m2 administation office, 4,800 m2 exhibition hall, 1,600 m2 outdoor activity space, 3,600 m2 library

Structural Engineer: Arup Amsterdam + Tien-Hun Engineering Consultant Inc.
Acoustics Consultant: Peutz & Associates + Gade & Mortensen Akustikk + Prof. Wei-Hwa Chiang NTUST
Environment Technology Consultant: Hander Engineering & Construction Inc. + I. S. Lin & Associates

Competition: 01/2007
Construction Start: 09/2008
Completion: 03/2012
Building Surface: 36,470 sq m

Ground floor plan – click above for larger image

First floor plan – click above for larger image

Second floor plan – click above for larger image

Third floor plan – click above for larger image

Basement floor – click above for larger image

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by MAYU Architects appeared first on Dezeen.

A perforated metal box encases the concrete visitor centre for the Atapuerca archaeological site in northern Spain by architects a3gm and Mata y asociados (+ slideshow).

The Atapuerca UNESCO World Heritage site in Burgos, northern Spain, is home to the fossilised remains of Europe’s earliest humans.

The concrete visitor centre is inserted inside a larger enclosure of perforated metal squares.

The patterns in the metal box are designed to “resemble the piles of straw bales and the dark clumps of trees in the area,” the architects told Dezeen.

Inside the visitor centre are classrooms, lecture halls, an information area and a cafeteria, as well as administrative areas.

Outside the building is a pond of oxygen-producing plants which processes water from the centre and nearby archaeological park.

A canopy of vines will eventually grow on a metal grid to cover the car park.

Earlier this year we posted a special feature about recently completed public buildings in Spain, including museums, town halls and markets – see it here.

See all our stories about Spain »
See all our stories about cultural buildings »

Photographs are by Mata y asociados.

Here’s some more information from the architects:

Centro de Recepción de Visitantes, Atepuerca, Burgos
Visitors Centre, Atapeurca, Burgos
Architects: a3gm + Mata y asociados
Location: Atapuerca, Burgos, Spain

Concept: Jesús Alba Elías, Laura García Juárez, Jesús García Vivar, Smara Gonçalves Diez, Carlos Miranda Barroso
Project and Construction: Salvador Mata Pérez
Collaborators: Myriam Vizacaíno Bassi, Javier Encinas Hernández, Alberto López del Río, David Muñoz de la Calle, Luis Antonio Pahíno Rodríguez, architects; Tomás R. Dientes, quantity surveyor

Engineers: GHESA, A2V Ingenieros
Environmental Engineering: HYDRAInvestor: Junta de Castilla y León. Consejería de Cultura y Turismo. Dirección General de Patrimonio Cultural

Project Area: 1.625 m2 sqm
Project Year: 2006, 2009
Construction Year: 2009–2010

Contractors: SACYR S.A.U., NUCLEO S.A.
Budget: EUR 3,500,000

The purpose of the project is the definition of the Visitors Centre of Atapuerca paleoanthropological site and the rearrangement of the environment with service and relationship areas with the existing archaeological park.

The proposal starts off from a double reading of the building: from its presence in the landscape and its inner functions.

In between proposed a relationship of a certain lack of boundaries in the band between the inner chamber and the outer shell is a space that expands on the main access and allowing expansion of the cafeteria and an extension of the exhibition area.

The image of the building initially refers to the volumes present in the surrounding landscape: natural elements ordained by human intervention, such as straw piles or clumps of trees.

Behind this reading of the envelope that filters and qualifies both the perception of the building inside and outside the image from the inside of the rooms, the direct sunlight, wind, appears logical scale and performance of a building exchange visitors and cultural flows.

The interior facades are conceived as a volume cut in plan to allow expansion in the interstitial space, and in section to introduce daylight and express to the outside the performance of the parts.

The Centre also seeks metaphorical proximity to the site, that effectively contributes to the production of a new architectural organism, by recreating a part of the building that belongs to the earth (stereotomic) and one that is detached from it (tectonic), a mask protection as light as possible wrapping the whole.

In this sense, the building is designed as a big concrete box – petrous nature – pierced by large skylights, and an outer perforated net that wraps and covers acting as a second skin.

Site plan

The interstitial space generated between the net and the concrete box recalls the archaeological site workspace. At the building entrance this space is conceived as a rest area, and the one of the opposite corner as a multipurpose outside area.

Plan – click above for larger image

The indoor exhibition space chooses a route between major structural concrete screens in addition to the presence of the lecture halls. At the entrance there is a space for information and sales of publications, a cafeteria and administrative and service areas.

Ground floor plan – click above for larger image

The classrooms are designed as modular elements with multiple possibilities of use and relationship between the polyvalent area and the exhibition area, from a small room for about 25 people to a conference hall for 100 people.

Upper floor plan – click above for larger image

The lightweight exterior enclosure has a discontinuous character, it is punctured or disappears in singular points as the entrance plaza and the gazebo.

Roof plan – click above for larger image

It generates a variable section in the access area with very strong relationships between the open space of the square and the space of the terrace-gazebo, in contrast to the austerity of the outer box.

Section – click above for larger image

To solve the necessarily large car parking area, the idea of nature is recreated again through metal elements, metaphors of trees, on which in the future vines will grow to shape the final camouflage of parked vehicles.

Section – click above for larger image

A light canopy and a wooden grid between the car park and the building will form an exterior square for outdoor activities.

North elevation – click above for larger image

Outside a pond of macrophytes solves the sanitation of both the Visitor Center and the next Archaeological Park.

East elevation – click above for larger image

The bed of the pond is a biotechnology system that mimics the process of self-purification that spontaneously occur in natural wetlands, based on the use of plants and other aquatic lower organisms.

South elevation – click above for larger image

This system is in perfect harmony with the new policies and sustainable development needs, providing high purifying efficiency with low operating and maintenance costs. The visit to the projected pond finally has become part of the Visitors Center’s educational route.

West elevation – click above for larger image

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by a3gm + Mata y asociados appeared first on Dezeen.

Red steel ribbons are parted like curtains to welcome visitors into this museum in northern Japan by Canadian studio Molo (+ slideshow).

Named Nebuta House, the building was designed to house the huge paper lanterns that parade the city streets of Aomori for five days each summer during the festival of Nebuta Matsuri.

With the appearance of mythical warriors, the Nebuta lanterns are used to tell stories about heroes and demons during the festival, before five are chosen for a year-long exhibition in the museum’s central hall.

The lanterns glow brightly in the dark hall and their reflection in the glossy floor is intended to represent the final day of the festival when some are floated on the sea.

Inspired by the paper lanterns, the architects copied the movements of strips of paper caught in the breeze to generate the twists of each ribbon on the museum’s exterior.

These twists create openings that let in light and lead into a sheltered passageway between the ribbons and the glazed inner facade.

During the festival the lanterns enter and leave through a huge sliding door at the back of the building, while more sliding doors connect the hall with a theatre above.

With both sets of doors open, visitors can see down from the theatre towards the Aomori Harbour and Hakkōda mountains.

We previously featured a Molo project to create paper partitions for emergency shelters.

See all our stories about Japan »

Photography is by Iwan Baan, except where otherwise indicated.

Here’s some more information from the architects:

Nebuta House (ねぶたの家 ワ・ラッセ) is a museum and centre dedicated to all aspects of the Nebuta festival and its creative culture in the Northern Japanese city of Aomori. In 2002, Stephanie Forsythe and Todd MacAllen won an international architecture competition for their design of a housing and community project in Aomori, Japan. The competition was judged by Tadao Ando and Jean Nouvel, and sponsored by the City of Aomori.

Over the project’s course, the program evolved from housing and community facilities into a unique cultural building inspired by the craftsmanship and spirit of Aomori’s Nebuta Festival. In 2007, Forsythe + MacAllen (molo design) invited ddt/Arch and Frank la Rivière Architects Inc, together with the structural team of Kanebako Structural Engineers and the services engineers of PT Morimura & Associates Ltd. to work in collaboration with molo to develop the construction documents and oversee construction of the Aomori Nebuta House Museum.

Nebuta Matsuri, one of the three most famous and largest festivals in all of Japan, it is a form of storytelling during which heroes, demons and creatures from history and myth come to life as large-scale (9 x 7 x 5.5m) paper lanterns (Nebuta) illuminated from within. The Nebuta House is a dwelling for these mythical beings to reside.

Each year the five best Nebuta, selected for their creative artistry and craftsmanship, will take the place of the five Nebuta selected from the previous year. Functionally the institution is meant to share the tradition, archive the history and nurture the future of this unique cultural art form. Located in front of Aomori train station, where the city meets the sea, the building opened January 5th, 2011.

The building is enclosed by ribbons of twisted steel, enamel-coated deep vibrant red and individually shaped to create variation: openings for light, areas of opacity, views, or opportunities for pedestrian circulation. For each steel ribbon, the bottom was set to a unique and specific angle, with thought to how sunlight would permeate the ribbons as it moved throughout the day, while the top part of each ribbon remains parallel to the building.

In between these fixed points, some of the ribbons follow a natural curve while others were selected to have further bending and shaping to create larger openings and an abstract expression of wind. The steelworkers executed great skill and judgment interpreting the images from the 1:50 scale model that had been made from ribbons of paper, into ribbons of steel (9mm thick x 300mm wide x 12 meters high).

In this way each ribbon was individually crafted during prefabrication, then manually adjusted on-site during installation. No part of the finished screen is the result of computer-aided fabrication; like all things handmade, human intervention enlivens function and expression.

The ribbon screen façade creates a sheltered outdoor perimeter space called the “engawa”, a spatial concept originating in traditional Japanese houses. In this case, a dwelling for giant paper heroes, demons and creatures, the engawa acts as a threshold betweenthe contemporary world of the city and the world of history and myth.

Shadows cast on the walls and floor through the exterior ribbons have the effect of creating a new material. Shadow and light become another screen – the convergence of material, light, shadow and reflection changing with the sun and weather. Homogeneous, grey, box-like buildings constitute much of the surrounding cityscape.

Commonplace objects like power lines and vending machines are dispersed throughout the uniformity. Here, the building appears as a vibrant curtain at the street’s end – activating the streetscape, transforming everyday experience into theatre. Bicycles and traffic passing by, city workers breaking to eat or children playing in the snow take on a quality of performance and play.

Inside, a shadowy dwelling for the Nebuta is shaped by the layers of screens and volumes of ancillary rooms. The volumetric juxtaposition accommodates many possible uses and perspectives. The interior is black, like a black box theatre. The abstraction of materiality, detail and colouring of the building allow visitors an intimate focus on the story being told. Luminous Nebuta appear suspended in the darkness of the hall, their vibrant colours reflected in the rippled, water-like floor. This is a subtle analogy to the last day of the festival when some of the Nebuta are set out to float on the sea.

Opening a set of giant sliding doors will connect the large volume of the Nebuta Hall with an upper level theatre and multi-purpose spaces below (for music, activities and exhibits) Providing a dynamic visual connection to the Nebuta during musical and theatrical performances, encouraging creative juxtapositions and flexible use.

Click above for larger image

During major events, the towering Nebuta exit and enter the building through another giant sliding door. When sitting in the theater with both sets of sliding doors open, one can see the vibrant Nebuta below, and beyond, Aomori Harbour and the Hakkōda mountains. Despite the challenges of designing an important cultural building while respecting a conservative budget, the evolution of the building’s type and program stands as symbolic foreshadowing of the many creative possibilities for use.

Click above for larger image

Already, programming has demonstrated a broad range of uses: workshops, conferences and new cultural events are taking place. Perhaps the building can help to usher the time-honoured tradition of Nebuta into a contemporary era, offering a place to share ideas and bring creative minds together, even artists of different cultures and disciplines. The building elevates Nebuta in the public life of the city, celebrating the stories and impressive craft of the ephemeral paper floats and the people who make them.

Click above for larger image

Dimensions
The Nebuta House site occupies 13,012 m2 on the waterfront of Aomori Harbour. The total building area is 4,340 m2 with a gross floor area of 6,708 m2 which includes the engawa (covered outdoor walkway enclosed by steel ribbon screen), utility basement, two levels to accommodate the program of exhibit hall, theatre, multi-purpose / music rooms, restaurant and gift shop. At the highest point the building stands at 15.4 m, the first level is 4.5 m floor-to-floor, the second level is 5.9 m; both entrance and exhibit halls are double-height at 8.5 m.

Click above for larger image

Materials
820 steel ribbons, 12 m tall, encircle the glass-and-steel structure. The prefabricated ribbons are enamel-coated deep red (inspired by the traditional local lacquer ware) and have been installed using a four-point connection system, manually adjusted on-site.

The building sits on 177 piles that go 27 m deep through fill to reach solid ground. In consideration of the soft sea side soil, the lightness of the steel structure was important and adopted early into the design process.

The exposed round steel columns are as slender as possible – this also helps give the structure a feeling of physical lightness. The floor to ceiling window mullions are black, galvanized solid steel and fasten to the steel structure of slender columns to contribute structural support to the steel ribbon screen of the façade (horizontal wind load). Segments of the exterior wall are made up of prefabricated lightweight concrete panels.

The interior is partitioned by a series of black, galvanized steel screens and panels, physically enclosing the space while maintaining visual connection beyond at certain angles. The galvanized steel used in the interior is treated with a patination process that blackens the metal while retaining the crystalline pattern of zinc galvanization.

Architectural Design and Site Supervision:
molo (Todd MacAllen + Stephanie Forsythe)
d&dt Arch (Yasuo Nakata)
Frank la Rivière Architects Inc (Frank la Rivière)

Structural Engineering: Kanebako Structural Engineers
MEP: PT Morimura & Associates, Ltd
Construction: Kajima – Fujimoto – Kurahashi Construction JV

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by Molo appeared first on Dezeen.