Hasta La Ideas

The aquatics centre designed by Zaha Hadid for the London 2012 Olympic Games is complete.

The 17,500-seat centre is the final permanent venue to be completed at the Olympic Park, one year ahead of the games.

The aquatics centre features an undulating wave-like roof that critics originally speculated would be too complex to build on time.

The competition and diving pools are sheltered below this steel roof, enclosed within the main hall.

Above photograph is by Anthony Charlton / Getty

A third pool to be used for training is located beneath the Stratford City Bridge, which is also sheltered by the curving canopy.

Above photograph is by Anthony Charlton / Getty

Wings on each side of the building provide additional seating but will be removed once the games are over.

Above photograph is by Anthony Charlton / Getty

Other completed venues on the Olympic Park include the Olympic Stadium by Populous, the Basketball Arena by Sinclair Knight Merz and the Velodrome by Hopkins, which was recently nominated for the Stirling Prize. See all our stories about London 2012 here.

Zaha Hadid also recently completed the Riverside Museum, which has a zig-zagging zinc-clad roof – click here to see all our stories about Zaha Hadid.

Photography is by David Poultney/Getty, apart from where otherwise stated.

Here are some more details from the Olympic Delivery Authority:

Aquatics Centre unveiled as main Olympic Park venues completed on time and budget

With exactly a year to go until the start of the London 2012 Games, the Olympic Delivery Authority (ODA) has announced that the Aquatics Centre is now complete, the last of the six main Olympic Park venues to finish construction.

The Olympic Stadium, Velodrome, Handball Arena, Basketball Arena and the International Broadcast Centre were all completed earlier this year.

The Aquatics Centre is being unveiled with British Olympic hopeful Tom Daley making the first dive into the pool.

Back in July 2006, the ODA set out a challenging brief to clean and clear the Olympic Park site and build the new venues and infrastructure needed in time for test events by the summer of 2011 – a year before the Games. This has now been achieved on time, to budget, with a safety record far better than the industry average, and by setting new standards in sustainability and accessible design.

Double Commonwealth Gold medallist and 2012 hopeful Tom Daley said: ‘Marking the 1 year to go, by diving in the Aquatics Centre is an incredible honour. Only a few years ago, this was a distant dream. The fact that I qualified at the weekend and am taking the first dive is a complete privilege. I can’t wait for next year and the honour of representing Team GB.’

ODA Chairman John Armitt said: ‘The Aquatics Centre will be a fantastic gateway to the Games in 2012 and a much-needed new community and elite sporting venue for the capital afterwards. Five years ago, in July 2006, we published a delivery timetable which set out the ambitious target to complete the main venues a year before the Games. Today, with the completion of the sixth main permanent venue, I am proud to say that we have delivered on that commitment.

‘The completion of the Aquatics Centre is the latest chapter in a British success story where tens of thousands of workers and business from across the UK have demonstrated the ability of this country to successfully deliver major projects.’

LOCOG Chair Sebastian Coe said: ‘With construction now complete on the Aquatics Centre, we are another step closer to the spectacular Olympic Park which will be host to world class sport in 2012. And after the Games, the venue will become a much-needed swimming facility for London with community use at its heart, epitomising the spirit of London’s bid – a Games which would bring lasting change and encourage people to choose sport. Everyone involved can be very proud of this venue and the progress of the Olympic Park as a whole. I congratulate the ODA and their teams who have done a fantastic job.’

Secretary of State for Culture, Olympics, Media and Sport Jeremy Hunt said: ‘The build project for London 2012 has been a huge success for the British construction industry, public sector and UK plc as a whole. The completion of the Aquatics Centre is the final permanent world-class sport venue to be finished on the Park and a proud moment for the ODA. All those that have worked on the Olympic Park deserve huge credit for what they have achieved. The venues are stunning and the stage is now set for us to put on the greatest sporting show on earth.’

The Mayor of London Boris Johnson said: ‘It’s fantastic to add the beautiful Aquatics Centre to London’s list of first class venues which are already set to welcome the world’s greatest sportsmen and women. To have all six permanent venues complete with a year still to go to the Games is a great achievement, and a firm sign that we are well on track to deliver a truly spectacular show in 2012. Congratulations to the ODA and all those who have worked on the construction of the Olympic Park for reaching this milestone.’

Andrew Altman, Chief Executive of the Olympic Park Legacy Company, said: ‘The Aquatics Centre will be a unique facility in London that puts sport at the heart of regeneration. As a focal point for community, national and international swimming, it will sit at the centre of the south plaza – London’s newest public space which will welcome visitors to the Queen Elizabeth Olympic Park after the Games.’

Construction started on the Zaha Hadid-designed Aquatics Centre just over three years ago in June 2008 and has been completed on time and with an exemplary safety record. Over 3630 people have worked on the construction of the venue and over 370 UK businesses have won contracts including the steel for the roof from Wales, pool lights from Scotland, pumps from Bedfordshire, under-floor heating by a company from Newcastle-upon-Tyne and water testing done by a Flintshire-based business.

In total, over 40,000 people have worked on the Park since April 2008 and over 1500 direct contracts worth £6bn have been distributed to thousands of companies across the UK.

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2012 Olympic Arena by Sinclair Knight Merz	2012 Olympic Stadium by Populous	2012 Olympic Velodrome by Hopkins Architects

Swiss architects Herzog & de Meuron have designed a stadium for Bordeaux that will host football matches for Euro 2016.

A “forest” of slender white columns will support the rectangular white roof of the Stade Bordeaux Atlantique, which will shelter up to 43,000 spectators.

Natural light will filter into the stadium through glazed louvres in the roof.

The base of the arena will house VIP lounges, players-spaces and media rooms, surrounded by food stalls amongst the columns.

A public square in front of the building will form part of the proposed landscape improvements by French landscape architect Michel Desvigne.

The stadium will be completed by 2015 and will also host rugby matches.

Herzog and de Meuron previously completed the National Stadium, Beijing for the 2008 Olympic Games – click here to see all our stories about Herzog & de Meuron.

Dezeen also recently featured three stadiums for the World Aquatics Championships in Shanghai – see all our stories about design for sports here.

Images are copyright Herzog & de Meuron.

Here is some more information from Herzog & de Meuron and Michel Desvigne:

Stade Bordeaux Atlantique, Bordeaux, France
2010 – planned completion 2015

Vision of a stadium

Our project for the new Bordeaux stadium is an expression of fundamentally new architecture. The pure shape of the volume, by contrast to its light and open structure, creates an at once monumental and graceful architectural piece elegantly suited to the grand landscape of Bordeaux.

Stadium architecture combines three constitutive elements: the bowl containing the game and its spectators, the concourse as the transitional element between the playing field and the outside surroundings and, finally, the overall appearance. Our approach is to reinterpret these three elements in light of the site-specific characteristics: the resulting architecture is thus one-of-a-kind, reflecting the intrinsic features of the site.

We aim to present an architectural object in which highest functional quality is combined with a unique identity. We are confident that allying these two criteria, functionality and strong identity, endows our project with an emotional dimension that the public can feel, and that is inextricably bound to the stadium’s traditional role of staging sports.

The bowl

Seating a maximum of some 43,000 persons, the bowl embraces the game area, its geometry affording optimal visibility for all, together with the maximum flexibility of capacity and usage.

The bowl consists in two superposed tiers divided into four sectors and protected from the elements by the roof. Consisting of a multitude of concentric strips, the ceiling’s homogeneous appearance guides the gaze to the playing field, while allowing sunlight to seep through thanks to the strips’ angle of slant. This open ceiling structure does not show through on the inside of the stadium, to avoid distracting the spectators’ attention.

Raising the bowl above ground level is a compact base integrating all the programmatic functions into a uniform and symmetrical volume. This plinth includes the VIP loges and salons evenly distributed east and west as well as media areas adjacent to the spaces dedicated to players.

The simplicity and pure lines of the architecture characterizing the bowl and its base guarantee a smooth flow of spectators and easy orientation.

The overall appearance

The bowl resting on its base is covered by an elegant roof which has an unusual rectangular shape. The choice of this pure and almost abstract form is the clearest and most efficient response to the site’s natural conditions, and to the main flow of spectators east-west.

This white rectangle seems projected earthwards thanks to the multiplicity of slender columns that shower down. A ribbon of food stalls and restrooms undulates through this forest of columns, brought alive by the movement of the crowd.

At once dense and light, this structure creates an evanescent rectangular volume from which emerges the sculpted and organic outline of the bowl.
In its specificity, this architectural concept confers a strong and unparalleled identity to the new Bordeaux stadium. Well anchored to its site, this elegant and diaphanous volume looks out onto the grand landscape its transparency revealing all the energy and activities which will fill this new symbol of the city of Bordeaux’s dynamism.

Herzog & de Meuron, 2011

Landscaping

The stadium’s implantation is linked to a particular situation, serving as a juncture between a high-quality natural setting to be reinforced to the north and, to the south, a structured urban periphery area in need of new development. Hence, any plans for the upcoming stadium must represent a basic step towards introducing the Secteur Nord Rocade tree belt, a project already foreseen by the city of Bordeaux’s landscape development plan.

Our proposal aspires to draw up a preliminary rendition of these future development plans. It reinterprets the tree belt’s exceptional features comprising rows of trees lining the main access ways. It defines an overall structure and organizes the various land plots in a grid.

The stadium’s surrounding areas (parvis, parking area, green corridor) belong to this language: organic tree lines serve as screens in a setting where, following the north-south orientation, they offer a variety of views while preserving a clear frontal view of the stadium’s facade. Surrounding the stadium, an entirely pedestrian public area is accessible from all sides.

The ground of the square around the stadium consists of three elements: grass-jointed concrete paving, natural lawn dotted with groups of trees forming open spaces and, facilitating stadium entry and exit, hot-rolled asphalt on surfaces around the stadium and defining the bus parking area to the east. The parking area to the north holds onto its for the most part mineral ground already anticipating the tree belt with its densely planted trees interspersed by plant beds.

These mixed area types set the stadium within a defined landscape, closely correlating the stadium site with its surrounding woodland setting.

MDP Michel Desvigne Paysagiste, 2011
Translation, Margie Mounier

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National Stadium, Beijing by Herzog & de Meuron	London Olympic Stadium by Populous	VTB Arena Park by Erick van Egeraat

A ring of mesh thorns crowns the roof of this convention centre in Zlín, Czech Republic, by London studio Eva Jiricna Architects and Prague architects A.I Design s.r.o.

The centre is situated beside the University Library at the heart of a valley, so the roof is entirely visible to approaching visitors.

Covered in metallic mesh, the triangular roof structures conceal smoke outlets, air conditioning and other service vents that would otherwise be visible from above whilst providing support for the external walls.

Glass blocks fill a series of zig-zagging screens below the fins and are illuminated with colour by night.

A multi-purpose auditorium at the centre of the oval-shaped building provides a venue for concerts, theatre, orchestra, conferences and exhibitions.

Glass butterflies decorate the purple ceiling and furniture can be stored below the floor.

A lobby circles the hall, providing access to rehearsal rooms, offices and a bar.

Above photo by Dušan Tománek

Czech architect Eva Jiricna moved to London in the 1960′s and had her big break on the Lloyd’s Building – listen to Eva discussing her early career here in our earlier interview.

This building is nominated for the Inside Awards. Eva Jiricna is also one of the judges and Dezeen is proud to be online media partner for the awards, taking place in Barcelona on 2-3 November.

The Convention Centre is not the first building with a crown for a roof – see our earlier stories about a pointed yellow pavilion in Shanghai and the London 2012 Olympic Stadium.

Above and top photo are by Filip Šlapal

More stories about cultural buildings on Dezeen »

Photography is by Richard Davies apart from where otherwise stated.

More information is provided by the architects:

Cultural Centre, Zlin, Czech Republic

The Cultural and University Centre is situated in the town of Zlin, the only modern town constructed between the two world wars in central Europe, by the industrialist and philanthropist, Tomas Bata. The site belongs to the town of Zlin who has shared it between the University Library and the Cultural Centre.

Photo by Filip Šlapal

The founder of the town was very keen on culture and education, hence adult ‘schools’ were situated in the very centre of the town, a few steps away from the main factories, becoming an integral part of the city concept and their configuration forming the famous ‘Y’ (two rectangular buildings meeting in an angle) creating a public space with a statue of the first Czechoslovakian President. Although the original school buildings collapsed about 15 years ago, a condition for the new development of this site was to maintain this urban concept.

The site for the Cultural Centre serves multiple functions: a concert hall & theatre, conference centre, home for the administration of the Philharmonic Orchestra, the Centre’s own offices, rehearsal and recording studios, exhibition spaces, and bars.

The main hall accommodates 850 seats, and approx 50 standing. The Conference Centre caters for roughly the same amount. Balls and other functions can take care of up to eleven hundred persons.

Since the building is situated close to a major intersection, the main auditorium had to be fully isolated from all external noise, vibration etc. Also, for operational reasons, a circulation zone around the auditorium was a strict requirement. With this concept, the oval central space is surrounded by offices, rehearsal rooms etc., all in need of natural ventilation and daylight. Another external layer was required as extra sound insulation and sun protection.

Photo by Filip Šlapal

The urban space, in the form of a ‘V’ opens on to the town centre and the incoming visitors proceed to the entrances situated close to the sharp part of the ‘V’. There is also an entrance to a glazed connecting ‘bubble’, a public restaurant shared by both organisations.

Approaching from the town and main intersection the first visual is the glass brick ‘pallisade’ which absorbs the initial impact of noise and climatic conditions and unifies aesthetically the building whilst also allowing the daylight through. It can be backlit at night and is easy to maintain.

At the point where the entrance and three storey foyer begins, the external envelope ends and opens the view into the interior of the building with plants, bars and exhibition spaces. The external area is enriched by a water fountain with changing coloured lights.

Since the town is located in a valley and the centre is at the very bottom of it, the roofs are a very important element of the architectural solution. They are being looked at from a substantial part of the other development.

Click above for larger image

The elliptical roof of the auditorium looks like a seamless efficient concrete shell, but contains all the service penetrations, smoke outlets etc, and air-conditioning plant, which does not present the most exciting view. For this reason the external envelope is interconnected with the roof by a perforated metal skin, supported by two large tubes with fins tensioned by vertical cables, also stabilising the external envelope.

Click above for larger image

A great deal of attention had to be given to the inside of the concert hall. An elliptical space is not a good shape acoustically to begin with, therefore convex louvred cast white concrete panels were proposed, which proved a very effective solution. Because of the flexible demands of the space, the seats have been designed in such a way that they can be pushed under the podium and totally free up the central space for other functions.

Click above for larger image

The building was built on a shoestring budget and had to be tendered twice since European funding has very strict requirements. The only luxury was the choice of colours for the seats, and a ‘flutter’ of glass butterflies across the acoustic ceiling.

Click above for larger image

As far as the few weeks of this Cultural Centre’s existence seem to indicate, the Philharmonic Orchestra is performing very successfully with a rich and varied list of prominent international artists, and other functions are truly enriching the cultural and architectural reputation of this most remarkable city.

Click above for larger image

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Taichung Convention Center by MAD	International Conference Center by CAAU	Stadthalle Offenburg by Hetzel and Ortholf

OMA have won a competition to design a gateway building for Toulouse, France, with a 40,000 square metre column-free exhibition hall.

The 660 metre-long Parc des Expositions (PEX) will host exhibitions, conferences and concerts.

Located in a new innovation district in Toulouse, the centre will occupy part of a 2.8 kilometre-long development site.

More stories about OMA on Dezeen »

Images are by OMA.

Here are some more details from the architects:

OMA to build major convention centre in Toulouse, France

OMA has won the competition to design the new Parc des Expositions (PEX) in the innovation zone of Toulouse, southern France. PEX is conceived as a new gateway to the city and will host exhibitions, conferences, and concerts. The 338,000m2 project is designed to be a compact mini-city – an antidote to the sprawl of a standard exposition park, and a means to preserve the surrounding French countryside.

Surpassing three submissions by internationally-renowned competitors, the project, led by OMA’s director of French projects Clément Blanchet, will be completed by 2016. Blanchet commented: “This project is not only about architecture, but rather infrastructure. It’s a condenser for diversity, a machine that can promote an infinite amount of possibilities.”

Rather than spreading across the entire available site – a patchwork of open fields and sporadic developments – OMA chose to designate a strip of 2.8 kilometers long and 320 metre wide, crossed by the RD902 highway. The strip will act as a zone for future developments and link the river Garonne at one extreme and the Airbus A380 factory on the other. In this strip, PEX is a 660 metre long, 24 metre high structure, both monumental in its horizontal scale and subtle in its overall impact.

PEX consists of three parallel bands: the multi-function Event Hall, with a massive doorway allowing performances to spread outdoors; a 40,000m2 column-free Exhibition Hall; and, in the middle band, a 160,000m2 parking silo. Instead of banishing parking underground or pushing it to the periphery of the site, parking ramps are visible through glass partitions from inside the halls. The massive structure of PEX is a simple and flexible three-dimensional grid, providing a plug-in system for exhibitors and facilities.

In 2010 OMA also won the competition for a major new library, the Bibliothèque Multimédia à Vocation Régionale (BMVR), in Caen, France. The project will be OMA’s first public building in France.

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Musée national des beaux-arts by OMA	Chu Hai College Campus by OMA	De Rotterdam by OMA

Hong Kong’s new design institute by French architects Coldefy & Associés, Architectes Urbanistes features a glazed box raised seven storeys above the ground on four lattice-steel towers that rest on a sloping, grass-covered podium.

The institute will educate up to 4,000 students. CAAU won the project at a competition held in 2006.

The institute, which opened in November last year, has an urban park on top while the podium conceals four auditoriums, a cafe, a sports hall, a gallery and a flexible event space.

A 6om escalator ascends from street level to the suspended box. More projects in Hong Kong on Dezeen »

Photography is by Sergio Pirrone.

The following information is from the architects:

Hong Kong Design Institute

The Hong Kong Institute of Design project was won at the end of 2006 by Coldefy & Associés, Architectes Urbanistes / CAAU, winners of the two stage international competition in which 162 teams from 23 countries took part. The CAAU studio was entrusted with the task of designing the project with architectural project management of the site directed by its Hong Kong partner, P&T Group. Intended to welcome 4, 000 students of artistic and multimedia disciplines in around 42, 000 m², the HKDI is commissioned by the Vocational Training Council Hong Kong. The HKDI is the first major facility built in Hong Kong by a French architect.

2006, the competition

Thomas Coldefy and Isabel Van Haute, equipped with solid international experience, decided at the beginning of 2006 to take part in the international competition for the building of the Hong Kong Institute of Design. One hundred and sixty two teams submitted entries to the competition, the two architects were selected in August 2006 from five teams invited to take part in the second phase. They then went to Hong Kong, to collaborate with local partners architect, engineers, and a quantity surveyor partner according to the rules of the competition. They are named as winners in November 2006 by the international jury which included in particular, the American architect, Richard Meier.

Thomas Coldefy and Isabel Van Haute move to Hong Kong for five months at the beginning of 2007 to develop the project on site, to set up the team and to speak with the partners and clients and to immerse themselves in the spirit of the location.

Presented to the Hong Kong community and to future users, the project seduces them with its answer which is welltuned to educational needs, solicitous of the environment and local context, but also bold, ambitious and very open to the outside. In autumn 2008, work starts on the site after 18 months of project development led on site by the CAAU practice. And eighteen months later the HKDI – 42, 000 m² – is delivered. The first students take the giant, mechanical escalator at the beginning of the academic year in September 2010. This creation merited Thomas Coldefy and Isabel van Haute the “40 under 40″ prize, organised by the European Centre for Architecture, Art Design and Urban Studies and the Chicago Athenaeum.

The urban context

The building is located in the Tiu Keng Leng area, to the north east of Hong Kong Island, in the Sai Kung district, adjacent to the Tseung Kwan O area and Junk Bay. The area is served by the metro, on the Tseung Kwan O line, 20 minutes from HK Central, and also has a bus station. Although activity there is mainly residential and commercial, nature is also very much present for the site is surrounded by green hills and the view over Junk Bay is everywhere.

The building, located in the heart of the area, may provide the community with a meeting place by making its sports areas and auditoriums available; at the same time, it will bring an energy to the social life of the area by the presence of 4, 000 students within the campus, the numerous exhibitions and activities organised around the urban space it has created.

The project offers spatial reinterpretation of its built-up city context, where social interactions are teeming in the various bases of the buildings whereas they disappear vertically; the extra height provided by one part of the programme allows one to envisage interactions on different levels and creates new connections with the ground.

The architectural project

Metaphor for creativity about to burst forth, the “Blank Sheet” expresses the project’s intentions : bringing together and then presenting the multidiscipline nature and targets of the future Institute of Design. In concrete, glass and steel, its radical architecture, light and transparent, invites one to reflect on the combination of multiple and opposing situations : introversion and extroversion, modesty and exhibition, exclusivity and wide accessibility, micro and macro city, classicism and experimentation …

Each functional element, first decomposed, amalgamates and interpenetrates or cuts itself off, by offering the project an immediate clarity from the outside which is very resonant in the city. The flexible and evolutionary plan allows one to envisage future liaisons with the neighbouring campus, LWL. The base of the building, the giant “ urban lounge “ favours meetings and exchanges, whilst taking advantage of internal and external green spaces and views of the countryside, thus fulfilling the liaison with the city.

The podium, whose gentle slope stands 7m below the King Ling Road, designed as a landscaped extrusion of the ground, directly linked to the urban environment on two levels – a common space and at the same time an external gallery – is characteristic of Hong Kong infrastructures. Open, sheltered by the platform above, it can host multiple events. The podium is made up of four auditoriums, a café, a space for exchanges with the design industry, a sports hall and an exhibition hall. For the roof, an urban park and sports grounds are available to the students and visitors from nearby. The large auditorium, with capacity for 700 seats, is intended to host conferences, seminars or classical music concerts, but also more recreational activities, fashion shows, pop music concerts, contemporary dance spectacles.

An aerial platform

Covered in glass which is screen printed white, the immaculate and minimal volume of the platform, “like “an aerial city”, floats above the towers. It groups together the library, school administration offices as well as various related spaces. Its landscaped roof is accessible during exceptional events. The towers are at once the soul of the Institute, its structure and its vertical distribution. They express the diversity and the specific nature of the disciplines represented in the Design Institute. Their appearance accentuates the platform’s immateriality, a poetic sensation and reflection of a creative environment. This overall composition, emerging from the interpenetration of interlinked elements, defines the Institute as a timeless building and unveils its ambition of synergy, of a cutting edge school, of publicity and interactivity, destined to become a bright beacon in the city.

The materials

Concrete, glass and steel, three classic materials are implemented for a radical architectural process, a building of a different age reduced to its fundamental functions. The steel, processed into a white trellis, is used as a structural skin for both the inside of the platform and the outside of the towers. The glass of the platform gives it great permeability which strengthens the sensation of tension between the architectural elements. The structural cement of the podium is combined with glazed facades to exceed mere functionality and create a strong visual and spatial impact.

The construction system

The overall stability of the towers is ensured by a vertical steel trellis structure called “diagrid”, equipped with a conventional beam-slab floor system in reinforced concrete. This “diagrid” system in steel offers excellent lateral rigidity supporting both the floating platform and the framework of the escalator which spans a length of 60m. HKDI is a pioneering project in Hong Kong, due to the choice of a peripheral steel trellis structural system.

An innovative structure in composite reinforced concrete /steel trellis – with upper frameworks which are pre-stressed and post-stressed, diagonal beams in steel and lower frameworks in reinforced concrete – has been introduced and developed in order to support the floating platform which spans an area of 100 m x 100 m. The composite trellises are either simply supported, or placed overhanging from the towers in steel trelliswork. Uniformly distributed on the floating platform in two orthogonal directions, they are used to support the beam-slab floor system in reinforced concrete.

This composite structure not only provides the floating platform with rigidity and sufficient resistance, it also meant construction costs could be optimised, in so far as the budget set by the client was not exceeded. The implementation of the project also required that the architects design a 60 m long escalator structure – the longest escalator in Hong Kong – supported by a three-dimensional steel structure without any immediate support. Over and above the general design of the infrastructure work, the dynamic analysis carried out meant there could be a guarantee that thevibrations caused by the escalator engines do not cause discomfort to users. Independently of the design, the ability to construct the floating platform has been, from the initial creative stage, one of the major concerns.

Sufficient tests were carried out in order to ensure that the proposed structure would be built without any risk and within a reasonable timeframe. Several construction methods have been researched, including preassembly of the main frame of the floating platform on the ground and then having it elevated into final position using heavy lifting appliances.  After assessing risks, difficulty and costs linked to construction in this way, the in situ manufacturing method with complex on site assembly procedures was adopted.  Finally, to reduce on site preassembly work to a minimum, the majority of secondary structural elements of the floatingplatform were built after completion of the main structures and removal of the scaffolding which supported them.

Technical

Programme: 4 departments for the four major disciplines taught :

• Department of Design,
• Department of Fashion and Textile,
• Department of Printing and Digital Media,
• Department of Multimedia and Internet Technology.

Competition: Prize winning project, 2006
Client: Vocational Training Council Hong Kong
– Architect: CAAU / Coldefy & Associes Architectes Urbanistes
Project leaders Thomas Coldefy + Isabel van Haute
– Associate architects: P & T Group Hong-Kong
Structural Engineers: ARUP Hong Kong
MEP Engineers: PBA Hong Kong
Landscape architect: ACLA Hong Kong
Acoustician: SHEN, MILSOM & WILKE Hong Kong
Cost: Estimated total for works : 78, 212, 112 € excl tax
Area: 42 000 sq m
Schedule: Start of work October 2008
Delivery: September 2010
Official Opening: 25 November 2010

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Institute of Natural History by Arkís	French Pavilion by Jacques Ferrier	IPost Building by studiobv36