2015 - L`Eco di Bergamo

2015
Edition
THE NOMINEES
2015
Edition
21 DESIGNERS
17 COUNTRIES
5 CONTINENTS
2015
Edition THE NOMINEES
Atxu Amann ALCOCER – Spain
Simona MALVEZZI – Italy
Raphaelle SEGOND – France
Suhasini AYER-GUIGAN – India
Toshiko MORI – Usa
Myriam SOUSSAN – Morocco
Tatiana BILBAO – Mexico
Emmanuelle MOUREAUX – Japan
Kerstin THOMPSON – Australia
Giulia DE APPOLONIA – Italy
Manar MOURSI – Egypt
Sofia TSIRAKI – Greece
DES CLICS ET DES CALQUES – France
Kate OTTEN – South Africa
Rula YAGHMOUR – Jordan
Angela DEUBER – Switzerland
Samira RATHOD – India
Michaela WOLF – Italy
DROST VAN VEEN – The Netherlands
Patama ROONRAKWIT – Thailand
Zoka ZOLA – Usa
“
Now that I’ve grown into adulthood and looking back to my past, I’ve to recognize the fortune of being an
architect.
In architecture, the arrangement between the professional and academic fields produces a mutual
enrichment that join all the areas of activity. University is the context where contemporary issues arise:
innovation, sustainability, mediation and new communication strategies and instruments are subjects
that are analyzed and continually updated to be incorporated into the academic practice / research and
later used in the daily work at the office, ensuring current methods, tools and language. In reverse, the
design and constructive experience acquired throughout one’s professional life is shared not only through
teaching, but also by giving lectures and participating in seminars and publications within the academia
community.
In my particular case, I have a special interest in developing experimental actions with students, which
implies a collaborative process to construct alternative buildings with recycled materials without
ecological footprint and take other urban actions that focus on gender and other issues involving an
intellectual ideological position.
”
ATXU AMANN ALCOCER – Spain
BIOGRAPHY
October 25, 1961 - Madrid, Spain
An architect since 1987 when she got the Prometheus EEC grant to be trained at the Technische Hochschule in Darmstadt,
Germany. She attended postgraduate courses held at the National Institute for Public Administration in 1989 getting the title of
European urbanism planner. In 2006, she received her PhD with a gender thesis work in architecture, the first of its kind,
entitled “Woman and House”. From 1987 to 2006, she co-directed the Architects Journal of CSCAE, the Confederation of
Architects Associations, in addition to having directed and coordinated many other publications for such an agency. Professor
since 1988 at the Public University in Madrid (ETSAM), she currently belongs to the Department of Ideation where she
teaches different subjects in both grade and postgraduate courses, with special reference to configuration and communication
of architectural design, housing, gender and other issues. For her activity as a teacher and as the leader of the educational
innovation group “Hypermedia" she received the UPM innovation teaching award in 2009 from the Madrid Polytechnic
University.
Moreover, she is the head researcher of a university team focused on developing actions and investigations vis-à-vis women,
housing and communication in architecture. Besides, she belongs to the “Real and Imaginary Cities“ group, with the
Universidad Complutense of Madrid. Regarding her professional life – closely linked to the academic and research fields –
she created the Extreme Temperatures office together with Andres Canovas and Nicolas Maruri, her partners since 1987:
their comprehensive work has received numerous awards and recognition (National Culture 2012 Award by the Spanish
Government) and has been the subject of several publications, exhibitions and lectures at various universities in Spain and
abroad. Mother of four children, she succeeds in managing her work and her family activities; moreover, she is actively
engaged in an intellectual fight in different areas to achieve equality, justice and dignity, with special focus on groups of people
that are historically considered as social outcasts.
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ATXU AMANN Y ALCOCER
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ATXU AMANN Y ALCOCER
“
Designing is taking responsibility for your imagination.
Beauty and aesthetics in the built and natural environment is essential for a healthy living.
Minimalism is an integral part of designing to create simple and elegant forms in keeping
with the sustainable and green building practices.
The space user/developer is part of the design team and not just a client. We seek active
and informed participation with our clients.
The planning and design should be most appropriate to the context – site conditions,
function, climate, culture, building materials and technology, ease of execution, cost
effectiveness and environment responsibility.
”
SUHASINI AYER-GUIGAN – India
BIOGRAPHY
October 17, 1961 - Mumbai, India
Graduated from the Delhi School of Planning and Architecture, she has been living in Auroville since 1985 and is one of the
co-founders of the “Auroville Centre for Scientific Research”, an organization dedicated to research and experimentation in
the field of appropriate building materials and technologies, water management, renewable energy and solar passive / climatic
architecture and sustainable urban planning.
SUHASINI AYER-GUIGAN
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Photo
Pino.Marchese
Photo © Pino.Marchese
SUHASINI AYER-GUIGAN
“
We do architecture to raise human quality of life. We work with our environment, our surrounding materials, hand
labor and techniques, opening channels of communication between the various social sectors, and detonate
productive activities that enable different aesthetic experiences with strong ideas and direct definitions and
intentions. Through our multicultural and multidisciplinary office, we try to understand our world, to translate its
rigid codes into architecture.
Through these strands, the office regenerates spaces “humanized” to be aware and react to global capitalism,
opening up niches for cultural and economic development and creating a climate of collaboration where there are
various disciplinary resonances in technical areas, theoretical and artistic works that, in one way or another, affect
the patterns and structures of society. The office associates work on the theme of resonance, which matches the
frequency of a given system with the frequency of an external drive, with certain information generated by another
system. As with the ethics of otherness of Levinas, the office incorporates the other who has not been recognized or
accepted by the intellectual, political and business oligarchy, but who is on the lookout for a qualitative change and
structural life. At the end we are building with the responsibility of understanding all that we do and we mean to
do, we learn through it and we work with it.
”
TATIANA BILBAO – Mexico
BIOGRAPHY
1972 - Mexico City, Mexico
Tatiana Bilbao studied Architecture and Urbanism at Universidad Iberoamericana in 1996, where she obtained her degree
with honors. She has developed projects of architecture and urbanism in diverse fields, both public and private. She worked
as an advisor for Urban Projects at the Urban Housing and Development Department of Mexico City and in 1999 she joined
and co-founded LCM S.C. In 2004 she founded Tatiana Bilbao S.C. with projects in China, Europe and Mexico. Tatiana was
awarded with the Design Vanguard as one of the Top 10 emerging firms of the year in 2007 by Architecture Record and
named as Emerging Voice by the Architecture League of New York in 2009.
In December 2010, three projects were acquired by the George Pompidou Centre in Paris, France, to be part of their
Architectural Permanent Collection. She has been visiting professor at Andres Bello University in Santiago de Chile, at Peter
Behrens School of Architecture, Düsseldorf, Germany. Starting in Spring 2015, she is going to be Louis I. Kahn visiting
assistant professor at Yale. Her work has been published, among others, in A+U, Plot, GA Houses, Domus and The New York
Times.
TATIANA BILBAO
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TATIANA BILBAO
“
Despite a current trend which increasingly interprets architecture as a discipline intended
to determine the image of the building and not its substance, I believe that the central role
of the architect is to direct and coordinate the various disciplines that contribute to the
design of a building. This way s/he is able to synergistically achieve a highly valued result simultaneously
along the technical, aesthetical and spatial dimensions.
This coordinator role necessarily relies on the ability and intelligence to fill and grasp the
existing conditions, to "listen" in silence to the site, history, people and engineers, and to
produce a 360-degree response. In this perspective, architecture is a social discipline, which plays the
fundamental role of shaping all the spaces of our everyday lives that eventually affect the activities that
take place within them. I strongly believe that this focus and projection on the end-user distinguish
architecture from any other artistic discipline.
”
GIULIA DE APPOLONIA – Italy
BIOGRAPHY
April 8, 1969 - Pordenone, Italy
She enrolled at the Facoltà di architettura, Politecnico di Milano in 1988. In 1991/92 she was awarded the Erasmus
programme scholarship to attend FAULT in Lisbon.
In 1993/94, she was awarded the Comett scholarship (architects J.L. Carrilho da Graça/Arch. F. Silva Dias). She graduated in
architecture with honors (cum laude) in 1994. She resided in Portugal from 1991 to 2004. In 1993 she began her professional
career, collaborating with architect J.L.Carrilho da Graça, Lisbon.
This collaboration lasted until the year 2000. She mainly worked on large public projects (museums, schools, libraries, sports
facilities, etc.) and on the restoration and reuse of listed monumental buildings.
In 2001, she started collaborating, as a university professor, with ”Universidade Autónoma de Lisboa”. In 2000, she opened
her own office in Lisbon. Her most important project is the Viva Cience Center in Bragança (Portugal-international
competition, 1° prize), built between 2005 and 2007.
In 2005, she moved back to Italy to open a new office in Pordenone. She participated in several tenders and won the
international competition for the Congress Centre of the “Istituto Zooprofilattico”, Brescia, in 2005.
In 2008, she created the “ABDA srl” firm with Camillo Botticini, developing national and international projects that brought her
substantial visibility and recognition. Among the most important buildings she worked at are the Multifunctional Building in
Assago (housing complex, educational complex and university facilities) in Milan, and led to winning an international
competition in Portugal (Urban park and facilities in Arcos de Valdevez- 2011)
In 2014 she opened her own firm - “Giulia de Appolonia – Officina di architettura” - in Brescia.
GIULIA DE APPOLONIA
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GIULIA DE APPOLONIA
“
des Clics et des Calques is a team of three young architects, coming from the same architecture school, Paris-Belleville. We
attended different studios, in Paris, but also in Mexico and Chile, which feed the collective under creation with several project
approaches. After school, we started to work in agencies, while increasing participative experiences, looking for alternatives and
involvement. First commissions from private clients started coming; at the same time, we were also getting involved in idea
competitions. Then, we joined a community housing project in Pantin. We decided to set up our premises as part of this project. We
are naturally attracted by projects in which the human and environmental dimensions take a central place. Each project becomes
an exploration using things already there, taking advantage of the materials in order to tell new stories. In summer 2013 we made
a tour to give conferences at several architecture universities in Colombia (Bogota, Medellin, Cali, Armenia) as part of the AJAP
exhibition. We were also invited to an artistic residency in the Quindío: there we developed a participatory bamboo construction
with the inhabitants of a village, an Indian community.
”
DES CLICS ET DES CALQUES – France
BIOGRAPHY
Camille BESUELLE
Architect- des Clics et des Calques
Camille Besuelle entered the Paris-Belleville architecture school in the same year as Mathilde Jauvin, meeting right at the
start of their studies. In 2005, they went their separate ways – with Erasmus placement for Mathilde in Santiago, Chile, while
Camille opted for mentoring at the university. The experience gained by Mathilde had a strong participatory bias: she followed
a travelling exhibition in Creuse, with visits and workshops for CAUE 93 (the St-Denis architecture, urban planning and
environment council). In late 2008, their trio with Nathalie Couineau began to gain experience in an informal way through
various private commissions and then in design competitions – sometimes winning them outright (Arpafil in Mexico), and often
attracting attention (Europan 2010 and 2011). So, do they tend more towards the modern (the ‘clic’ or click) or the traditional
(the ‘calque’ or sketch)? In fact their aim is to move beyond the dichotomy of traditional vs. modern. Their projects engage
with their surroundings in a way that is both respectful and uncompromising. Every project becomes an exploration drawing
on what is already in place and using materials to tell new stories. They have no hesitation in crossing boundaries: turning
their hand to carpentry, landscaping and performance for a festival in Amiens or forming the mainstay of a group residential
project – restructuring an industrial warehouse in Pantin to initiate a commission for themselves and establish their own
practice.
DES CLICS ET DES CALQUES
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BIOGRAPHY
Nathalie COUINEAU
Architect - des Clics et des Calques
Nathalie Couineau entered the Paris-Belleville architecture school in the same year as Camille Besuelle and Mathilde Jauvin,
meeting right at the start of their studies. In 2005, they went their separate ways – with Erasmus placement for Mathilde in
Santiago, Chile, while Camille opted for mentoring at the university. The experience gained by Mathilde had a strong
participatory bias: she followed a travelling exhibition in Creuse, with visits and workshops for CAUE 93 (the St-Denis
architecture, urban planning and environment council). In late 2008, their trio with Nathalie Couineau began to gain
experience in an informal way through various private commissions and then in design competitions – sometimes winning
them outright (Arpafil in Mexico), and often attracting attention (Europan 2010 and 2011). So, do they tend more towards the
modern (the ‘clic’ or click) or the traditional (the ‘calque’ or sketch)? In fact their aim is to move beyond the dichotomy of
traditional vs. modern. Their projects engage with their surroundings in a way that is both respectful and uncompromising.
Every project becomes an exploration drawing on what is already in place and using materials to tell new stories. They have
no hesitation in crossing boundaries: turning their hand to carpentry, landscaping and performance for a festival in Amiens or
forming the mainstay of a group residential project – restructuring an industrial warehouse in Pantin to initiate a commission
for themselves and establish their own practice.
DES CLICS ET DES CALQUES
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BIOGRAPHY
Mathilde JAUVIN
Architect - des Clics et des Calques
Mathilde Jauvin entered the Paris-Belleville architecture school in the same year that Camille Besuelle, meeting right at the
start of their studies. In 2005, they went their separate ways – with Erasmus placement for Mathilde in Santiago, Chile, while
Camille opted for mentoring at the university. The experience gained by Mathilde had a strong participatory bias: she followed
a travelling exhibition in Creuse, with visits and workshops for CAUE 93 (the St-Denis architecture, urban planning and
environment council). In late 2008, their trio with Nathalie Couineau began to gain experience in an informal way through
various private commissions and then in design competitions – sometimes winning them outright (Arpafil in Mexico), and often
attracting attention (Europan 2010 and 2011). So, do they tend more towards the modern (the ‘clic’ or click) or the traditional
(the ‘calque’ or sketch)? In fact their aim is to move beyond the dichotomy of traditional vs. modern. Their projects engage
with their surroundings in a way that is both respectful and uncompromising. Every project becomes an exploration drawing
on what is already in place and using materials to tell new stories. They have no hesitation in crossing boundaries: turning
their hand to carpentry, landscaping and performance for a festival in Amiens or forming the mainstay of a group residential
project – restructuring an industrial warehouse in Pantin to initiate a commission for themselves and establish their own
practice.
DES CLICS ET DES CALQUES
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DES CLICS ET DES CALQUES
“
Architecture today is defined less by beauty than it is by ugliness. We should begin architecture with a
longing, a desire, an idea. We got lost in the complexity of architecture. Architecture is the backdrop for a
piece of life for a society. When we build in the narrower sense, we build our life at the same time in the
wider sense. We should take the physical boundaries seriously again. Most things we build make our
environment not better but worse. We live in a time in which it is predominantly impossible to understand
how things are made. We should be able to understand how something is made intuitively. Construction is
an underestimated and intrinsic part of architecture, but since we no longer build with our hands,
construction has become indirect, remote and alien. My work is an attempt to escape this alienation. The
baseless separation of the idea and the execution degrades Architecture. To create and to construct need
to be inseparable. As architects, we have a great responsibility in society which we should take more
seriously.
”
ANGELA DEUBER – Switzerland
BIOGRAPHY
June 6, 1975 - Bad Kissingen (Germany), Swiss Nationality
Angela Deuber graduated in Architecture from the ETH in Zürich in 2002 and founded her own office in Chur (Grisons,
Switzerland) in 2006. From 2007 until 2010 she taught at the ETH in Zürich and was appointed lecturer at Lucerne University
in 2012. Her first works have aroused considerable attention and exhibit a clear commitment to the culture of construction;
defined by a willful architectural character possessing a strong material and tectonic identity. Most of her projects have public
character and are located in Switzerland. Among her projects is a School Building in Thal, Canton of St. Gallen (2009-13)
and the conversion of a late medieval house in Stuls, Grisons (2009-12). Although completely different, both projects
showcase the architect’s skill in mediating the requirements of the brief to produce buildings that are unique and powerful. Her
projects respond to the challenges of the 21st century offering economical solutions coupled with maximum flexibility. They
are precise in thought and execution, creating enduring and timeless architecture.
ANGELA DEUBER
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ANGELA DEUBER
“
Together. Collaborating closely with clients and users is essential to Simone Drost. After all, they are the people who will occupy
and manage a building later. Their enthusiasm and input inspires her. Wanting to find out what is really important, Simone
poses questions until she gets to the heart of the matter. Collaborating with other disciplines is also important. An integral
process involving engineers, building physicists, architects, landscape architects, urban designers and artists deepens
understanding and enhances commitment. It also means co-creation. Nature versus city. The most important sources of
inspiration for Simone Drost are always nature and the city. Nature provides an infinite source of inspiration in terms of form,
tactility, light, scent and colour, all of which trigger our senses. The city is of another order, with its complex history and
constant innovation and vibrancy. The context of a site, be it urban or rural, provides the first intuitive inspiration for a design.
With these sources of inspiration, Simone creates an architecture of the senses. “We are bombarded with an excess of images
all day long. What matters is that buildings invite us to stop and really see, smell, feel, hear and taste things. Simone has a
perfect sense of mood and effortlessly understands what a site needs. In that way, places can retain their identity in a
contemporary atmosphere and form. Deepening and future value. For Simone Drost, research is essential. “If we really want to
make a substantial contribution as designers, then we should concern ourselves with the future value of our designs.” The value
of a design lies in making basic choices that need to be grounded in thorough research. Her ambition is to propose designs that
not only meet the needs of users but also endure for a long time on that particular site. That is why new approaches must be
taken, with specific themes in the realm of sustainability, material applications, nature and building, architecture and care,
children and education. To this end, she collaborates with various researchers active in these domains. She also works on these
subjects with students in studios.
”
SIMONE DROST – Studio DROST VAN VEEN – The Netherlands
“
As an architect I aim for designs with a clear identity. Buildings should surprise and intrigue with
multilayered meanings and communicate at more than one level. They should be grounded to their
location by a strong relationship with the environment - the landscape or urban context.
The designs should give clear answers to complex architectural issues, be sustainable at all levels and take
users seriously. Architecture should tell a story. On the outside a building should make an visual statement
in the environment. From the inside it should offer a special experience to the user. To achieve that in my
designs, I look for a field of tension. For example by using recognisable shapes and transforming them into
contemporary forms, or by using pronounced contrasts or joining existing ones. Often this results in
inventive spatial solutions and innovative constructions. The use of well detailed materials and colour are
important means of articulating this vision.
”
EVELIEN VAN VEEN – Studio DROST VAN VEEN – The Netherlands
SIMONE DROST
BIOGRAPHY
April 30, 1960 - Leiden, The Netherlands
Worldly
As the daughter of an ambitious urban designer, she relocated every four years to another city in the Netherlands. After
secondary school she rapidly departed to discover the world and meet new people. She studied at schools of art and
architecture in London and Rotterdam, and has also lived and worked in Geneva, Paris, Milan, Chicago and New York.
Under the pretext ‘The best way to learn is to teach’, she teaches and lectures regularly at home and abroad — from
Groningen to Rotterdam, Amsterdam, New York, Chicago, Sydney, Vienna and Paris.
She currently operates from
Rotterdam, and from a studio in the French countryside.
Freedom and space
After a brief period of learning at Mecanoo architects, Simone began her career as an independent architect in 1992. This
independence typifies her, since she operates best when given the freedom to make her own choices. Freedom opens up
space in which to answer design questions and ensures that creativity continues uninterrupted. It is a precondition for
innovation, growth and development. Her determination stems from her concern for and love of the profession.
New start
In July 2014 Simone Drost had the pleasure of enthusiastically launching her company SIMONE DROST ARCHITECTURE!
After a successful 21-year collaboration in which Drost + van Veen completed many wonderful projects, the two office
founders decided in mid-2014 to divide the company and go their separate ways.
Under the pretext ‘The best way to learn is to teach’, she teaches and lectures regularly at home and abroad — from
Groningen to Rotterdam, Amsterdam, New York, Chicago, Sydney, Vienna and Paris.
She currently operates from Rotterdam, and from a studio in the French countryside.
Studio DROST VAN VEEN
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EVELIEN VAN VEEN
BIOGRAPHY
January 12, 1961 - Rotterdam, The Netherlands
Evelien van Veen grew up in a small family near the famous beach in a small town Noordwijk. She always loved making
drawings and got her first “drawing “ prize when she was 6 years old. The concern and the awareness of the importance of
the building environment, space, light colour, materials and specially the building environment always got her attention. She
made her first interior designs at the a age, 16 years when she designed the new lunch/recreation room at the high school
Rynlands Lyceum in Oestgeest. After graduating from high school she decided to become a designer and started her study at
the Art Academy, Willem The Kooning in Rotterdam, the city where her family origins laid. At the second year at the Art
Academy she met Simone Drost and started to work together on several study projects.
After graduating from the Art Academy in Rotterdam, Evelien chose to continue studying at the AA in London where she lived
for almost five years. In 1993 she came back to Holland and the office Drost + van Veen Architects was being founded. Many
years of successful projects followed.
Today, Evelien is married to a copywriter, has two children and is still living in the centre of Rotterdam.
Next to her professional life as an “female” architect she is also active in the community. Formerly as member of the building
committee in Rotterdam, head of the building committee Breda and chairman of the residents organization which aims to
promote the quality of life in central Rotterdam.
Studio DROST VAN VEEN
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© www.roosaldershoff.nl
Studio DROST VAN VEEN
“
I am interested in public spaces projects because designing a public space means that you have to deal
with many different things, it’s a complex process: first of all, there is the context which most of the time
is a historical context, then you have to deal with memory, monuments, political issues. I think that as a
designer working in public spaces you have the responsibility to make yourself numerous questions and
not just inventing something new.
Instead of creating new objects I try to activate what already exists: like abandoned spaces, in-between
spaces. And of course you have to deal with the multiplicity of the users, the huge number of it. And then
of course you have to consider the central role of the users as an active participant in the architecture
experience. Public architecture must be in some way relational and participatory because it is first of all
social. Public Architecture has to be communicative.
”
SIMONA MALVEZZI – Italy
BIOGRAPHY
March 19, 1966 - Milan, Italy
After graduating from the Politecnico di Milano, Simona Malvezzi founded KUEHN MALVEZZI in Berlin in 2001 together with
Wilfried Kuehn and Johannes Kuehn. Museum and exhibition design is the main focus of their work. They designed the
architecture for the Documenta 11, the Flick Collection in the Hamburger Bahnhof in Berlin as well as the Julia Stoschek
Collection in Duesseldorf. KUEHN MALVEZZI has recently completed the Kunstgewerbemuseum Berlin and extension for
the Museum Berggruen in Berlin and is currently planning the new presentation of the collection of the Herzog Anton UlrichMuseum in Braunschweig, the Kunstsammlung Nordrhein-Westfalen. Their projects have been shown in international solo
and group exhibitions, amongst others in the German Pavilion at the 10th Architecture Biennale in Venice 2006 and were
nominated for the Mies van der Rohe Award. In 2012 KUEHN MALVEZZI was invited to the main exhibition "Common
Ground" at the 13th Architecture.
SIMONA MALVEZZI
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COPYRIGHT PICTURES
© KUEHN MALVEZZI / Foto: Ulrich Schwarz
SIMONA MALVEZZI
“
My objective for being an architect is simply to improve the quality of human life. Architecture intersects
with everyday life of inhabitants, workers, and public. Environment promotes better work and social
conditions and creates memorable moments on daily and special occasions. Innovation in technology is
integrated into the comprehensive creative process to optimize the conditions from the point of view of
structure, environmental systems, ecology and sustainability; and is manifested by creation of special
atmosphere and aesthetics, simple and elegant. The effect of the place translates into a type of ethos of
built environment that everyone can share and understand. Architecture is a complex craft and it
operates at various levels and scales. I work to assist in creating communities that often share complex
commonalities by layering many levels of experiences. My interest is based on the triad of materiality,
fabrication process and performance which helps to focus my work. I test my concepts with different
modes of production, diverse climate, site, culture and economies.
”
TOSHIKO MORI – USA
BIOGRAPHY
October 25, 1951 - Kobe, Japan
Toshiko Mori is the Robert P. Hubbard Professor in the Practice of Architecture at Harvard University Graduate School of
Design and the founder and principal of Toshiko Mori Architect, PLLC. She is the founder of VisionArc, a think-tank promoting
global dialogue for a sustainable future and one of the founders of Paracoustica, a non-profit promoting music
in underserved communities.
Her firm’s recent work includes; the Cambridge Headquarters for the Novartis Institutes for BioMedical Research, the School
of Environmental Research & Technology for Brown University, the Brooklyn Children’s Museum Roof Pavilion, the Brooklyn
Public Library master plan, the Cultural Center and Artists’ Residences in Rural Senegal, and new canopies for the #7
Subway line for the Hudson Park and Boulevard in New York City. Her firm’s projects have been internationally exhibited,
which includes the 2012 and 2014 Venice Architecture Biennales.
Her work is published widely for a global audience. She recently lectured at the Institute for Art and Architecture in Vienna and
at Hong Kong University, for which she is also an external examiner for its architecture program. She has been honored with
countless awards, including the Academy Award in Architecture, from the American Academy of Arts and Letters, and with the
American Institute of Architects New York Chapter Medal of Honor. She holds a place on a number of international juries and
is affiliated with organizations around the world. She’s currently a juror for Sydney Modern, was on the 12th Cycle of Aga Khan
Architecture Award Jury, and is a member of the World Economic Forum Global Agenda Council on Urban Innovation.
TOSHIKO MORI
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TOSHIKO MORI
“
In 1995, a visit to Tokyo as an architectural student gave me the passion for colors. Overwhelming
number of store signs, electrical cables, and fragments of sky between the buildings – it was the flow of
colors, built a complex depth, creating three-dimensional layers in Tokyo. I felt a lot of emotions seeing
these colors, my mind decided to live in this city. Receiving French Architect License in 1996, I moved to
Tokyo. In response to the experiences of colors and layers in Tokyo, I came up with a concept called shikiri,
which means dividing (creating) space with colors. I use colors as three-dimensional elements, like layers,
in order to create spaces – not as a finishing touch applied on surfaces.
This vibrant city is motivation, adding emotion to my design. I want to share emotions, let people feel
space with three dimensional layers of colors. Shikiri demonstrates that colors in architectural spaces can
give more than a space, but a space with additional layers of human emotion.
”
EMMANUELLE MOUREAUX – Japan
BIOGRAPHY
1971 - Bayonne, France
Emmanuelle Moureaux is a French architect living in Tokyo since 1996, where she established "emmanuelle moureaux
architecture + design" in 2003. Inspired by the layers and colours of Tokyo that built a complex depth and density on the
streets, and the Japanese traditional spatial elements like sliding screens, she has created the concept of "shikiri", which
literally means "dividing (creating) space with colors". She uses colors as three-dimensional elements, like layers, in order to
create spaces, not as a finishing touch applied on surfaces. She designs a wide range of projects in the fields of architecture interior, product and art - by applying her unique technique of colour scheming, where she handles colours as a medium to
compose space.
In 2013, she unveiled "100 colors" in Tokyo, a space using full spectrum of colours. This is the launch exhibition of the "100
colours" series, which she plans on exhibiting in different cities around the world.
Associate Professor at Tohoku University of Art & Design since 2008, Emmanuelle's laboratory explores the possibilities of
colour through a project she named "100 colors". Students focus on creating 100 colors palette of an item from their everyday
life, such as glasses, bubble foam, rice, sea creatures, umbrella, watches, CD, chocolate block and so on.
EMMANUELLE MOUREAUX
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EMMANUELLE MOUREAUX
“
My work spans the fields of architecture, urbanism, design and art. Three years after completing my
Masters Degree from Princeton University, I founded Studio Meem, an interdisciplinary design studio
based in Cairo focusing on articulating the specificity of the local ecology and the rich cultural heritage of
the region through a contemporary voice. My objective being to create work that is provocative and
stimulating but very rooted in this context.
Since its foundation, Studio Meem has collaborated with a vast network of artisans, artists and landscape
designers, with the conviction that dialogue and cooperation enhances creative possibilities.
In addition to my practice I believe in actively participating in academia. I regularly lecture and conduct
workshops as well as publish my writing in international publications. My writings on urban issues have
appeared in Thresholds, Lunch, Magaz and Al Masry El Yowm. My imaginary pink plastic pirate utopias in
a post-tsunami Tokyo are forthcoming in the latest Monnik publication Still City Tokyo.
Most recently, I collaborated with the Japan Foundation to produce an instructive publication for design
students in Cairo. I have also conducted workshops in Beirut and Dubai and recently lectured at MSA
University and the German University in Cairo.
”
MANAR MOURSI – Egypt
BIOGRAPHY
March 7, 1983 – Kuwait City, Kuwait
In 2008, Manar Moursi graduated from Princeton University’s Masters in Architecture and Urban Policy program. A couple of
years later, her first architectural project was constructed in Kuwait in 2012. Her design of a disaster relief center in Istanbul
with architect Omar Rabie was among the top 8 projects shortlisted for the ThyssenKrupp Elevator Architecture AWARD in
2011. In 2014, in recognition of her architectural work, she received the third place prize for the arcVision Women in
Architecture Award in Egypt. Her Screen House project is currently ongoing; she is in the process of finalizing the design and
preparing the construction documents. She also recently started more residential design projects and is currently working on
developing a concept design for the UNESCO Bamiyan Cultural Center in Afghanistan competition. Her urban design
proposal for a passageway in downtown was chosen and developed by the Cairo Lab for Urban Studies Training &
Environmental Research for implementation. Its inauguration will be on the 17th of January 2015.
Along with architectural design, her practice also encompasses product design work. Her first product line PALMCRATE Off
the Gireed, inspired by everyday street objects in Cairo, was awarded a Red Dot and a Good Design Award. Her work has
been published and exhibited both locally and internationally. Her latest product line launched in the Ventura Lambrate section
of the Salone Internazionale del Mobile in Milan in April 2014. Further to her design work, she is currently working on a
forthcoming art publication co-authored with David Puig and tentatively titled: Sidewalk Salon: Street Chairs of Cairo. She has
participated in multiple art exhibitions, the latest being a series of public art installations titled the Wonder Box which recreated
through contemporary form, technique and stories a series of peep shows in the streets of Cairo. The performances lasted for
a full month. Her latest gallery photography exhibition, Layer of Green, was shown at the Contemporary Image Collective in
Cairo. It traveled regionally as part of a group exhibition Next to Here - curated by Constanze Wicke.
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MANAR MOURSI
“
To create buildings that nurture the human spirit and inspire the imagination.
To achieve excellence in architecture in the specific context of Africa.
To find an appropriate response to the particularities of each project, in terms of programme, site,
client/user needs and specifics of the environment.
To design spaces and places that are inclusive.
To design places that places that are economically, environmentally and socially sustainable.
To give people a sense of “ownership” - to engender a feeling of pride and relevance in the users of the
building.
To run my practice is a non-hierarchical organization that encourages teamwork and stimulates team
spirit.
To promote the empowerment of women in a male-dominated industry.
”
KATE OTTEN – South Africa
BIOGRAPHY
March 28, 1964 - Durban, Kwa-Zulu Natal, South Africa
Kate Otten is known for being an architect of ‘place’. Her buildings are born out of the South African context, weaving
together materials, skills, politics, light, and landscape to create places that feed and nurture the human spirit. Kate
believes that buildings have an emotional presence – ‘fulfilling the emotional and spiritual needs of the users is as
important as creating a functional space.’
Kate started her studies at the University of Durban, Natal under Rodney Harber, and was deeply influenced by his
contextual approach to architecture. An exceptional student, she graduated from the University of the Witswatersrand,
completing her studies there during one of the most violent periods in apartheid South Africa - the 1980’s.
She went on to work briefly and travel before setting up her own practice in 1989.
Kate Otten Architects has subsequently developed into a unique practice with a varied body of work, including important
public buildings and places of memory. Seeking to bring a contemporary African sensibility and phenomenological
approach to the architectural landscape in South Africa, she often acts as an important counterweight to the dominant
aspirational ‘Western’ aesthetic.
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KATE OTTEN
“
Every building endeavor must be a responsible solution in structure,
services infrastructure, cost & function. It must have a purpose, and above all,
dare its own consequences in the environment; but…in all of the above,
if there is poetry, perhaps it becomes architecture.
Every project is an opportunity to understand this world better.
The world that is the relationship of people with other people,
and of people with their environment.
”
SAMIRA RATHOD – India
BIOGRAPHY
August 3, 1964 - Mumbai, India
Samira Rathod, principal SRDA, established her practice in 2000. Having begun with a small farm house, and an
avant-garde portfolio of furniture, SRDA is today commissioned with architectural and interior design projects,
across the country. Winner of several national awards and with a presence in both international and national
publication, SRDA enjoys a reputation of being a firm that investigates design with a passion. At SRDA every
project is treated with fervor for exploration and innovation in idea, and tested for relevance to physical and social
contexts.
SAMIRA RATHOD
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SAMIRA RATHOD
“
Most of the time, architects think that what they've learnt makes them an expert, that they
always know better. That they know where and how people should live, in what or where they
should be, what is the good environment. I think this is wrong because the architect will not
always be there. I mean, after you design, you leave. I have the sense that for so many projects,
after they are built, the owner has to knock down or add something, change this, change that.
This is a waste of money. And it's not very healthy working this way, and especially when you work
with the poor. They don't have money to fix the architect's mistakes.
So it's better to think and work in another way. The architectural knowledge and skills I learnt are
important, but they never taught me that the design process should be done by an architect in
partnership with, and as a servant of, the owner of the place. Yet this saves cost and also makes
the building more efficient. When you work with the poor you are not allowed to spend a lot. And
when the poor have to spend their own money, it’s even more important because you cannot
afford to make mistakes.
”
PATAMA ROONRAKWIT – Thailand
BIOGRAPHY
February 22, 1968 – Bangkok, Thailand
An architect, lecturer and community activist, graduated from Faculty of Architecture, Silpakorn University in 1991, followed by
a master degree in Development practices from School of Architecture, Oxford Brookes University, UK in 1996. A founder of
Community Architects for Shelter and Environment (CASE) that has been involved in numerous community development
projects for the last 20 years. She was a recipient of the award ‘Young architect with outstanding work - 2004” from the
Association of Siamese Architects (ASA).In 2010 she received the award Silpathorn, the best contemporary artist in Thailand
by Ministry of Art and Culture and lately in 2014 she received the best architect award from Association of Siamese Architects
(ASA). Besides practicing she is also a visiting lecturer at several universities in Thailand. Now she currently a global tutor for
the Centre for Development and Emergency Planning, Department of Architecture, School of Built Environment, Oxford
Brookes University, UK.
Community Architects for Shelter and Environment is a group of Thai architects formed in 1997 with central interests in
alternate dwelling visions. Known as CASE, its major concern lies in the relationship between dwelling and physical, cultural
as well as socio-economic contexts. Both the physical environment and the human elements of the place are considered vital
to CASE’s working mentality.
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PATAMA ROONRAKWIT
“
Housing stays at the heart of her concerns. Living in the city, living into a landscape, whatever the
area, housing still asks the same questions: How can we live in symbiosis with the environment? How
to live large in little spaces? How to have a beautiful light and a healthy living? Working at the same
time on collective dwelling, on individual houses and on urban planning permits to Raphaëlle Segond
to think at many scales, from furniture to city with the aim of giving extent and meaning to her
projects.
”
RAPHAELLE SEGOND – France
BIOGRAPHY
04 june 1966 MARSEILLE, FRANCE
In 2000, she won two competitions in co‐contracting with Rudy Ricciotti: the National Choreographic Center of Aix-enProvence and the big hall and restaurant of the University of Luminy. In this way, she created her own agency. Those
reference works led her to public competitions, to facilities building and, at the same time, to house building and to the
creation of small collectives aimed at ensuring always a fairly shared work between conception and realization. The
agency stays small, flexible and open to partnership. So that it can be renewed and answer to a larger project diversity
while diversifying its skills. By 2008 she had completed her architect experience through a strong engagement with urban
planning, in particular studies involving the French departmental road 559 in Six Fours (now Sea Avenue), the
restructuring and expansion of Roquevaire centre, the conversion of the Brusc military area and of the Pierrefeu hospital
site, and also a child housing project launched by the OPAC, the French public housing office. In 2011, together with
Jean Marc Chancel, she built the Daumier High School extension, a project awarded with the Grand Prix d’Architecture of
CAUE 13, with François Calin as jury president. The project involves the development of a five-hectare area and a total
built surface of 10 000 m2 of which 6000 m2 of heavy rebuilding. This project reflects and reveals the site owner’s
commitment: the solid opening on the large landscape creates the illusion of living immersed in nature, the praise of a
“skin and bones” architecture combined with the research of an elegant expression of structures, to recount the
relationship between the building and the ground and the roping down a load in the earth, and so that everyone feels in
relationship with nature. The search for a strong personality of the spaces to animate memory and the use of materials
that acquire a patina over time allow the buildings to look fine even without any maintenance.
RAPHAELLE SEGOND
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RAPHAELLE SEGOND
“
In today’s consumer society, architecture itself has also become an object of consumption whose practice
is oriented towards a commercial approach. The results are conventional lifestyle and design patterns,
living places where man can hardly identify himself with in a meaningful way, and modes of construction
and operating procedures that are destroying our planet.
These observations led me to the architecture I practice today, whose cybernetic approach is based on the
relationship between the elements of a balanced system (in equilibrium). The elements must be as simple
as possible on the formal and constructive levels, but must be able to establish complex relationships
between them. The goal is to increase the compatible possibilities of inter- components relationships to
achieve multiple formal combinations. This results in a dynamic architecture-system, scalable and that
potentially contains many spatial configurations. After years of research, testing and proposals, two
projects 100% self sustainable (autonomous) could be achieved in accordance with these principles,
offering amazing, fun and functional areas built at low costs. This fundamental first step allows
considering the possibility of an autonomous city, and the consequences of this radically bioclimatic
approach announce a new paradigm of urban life in harmony with the cycles of nature.
”
MYRYAM SOUSSAN – Morocco
BIOGRAPHY
17 October 1974, PARIS (FRANCE),
Born in Paris from a French mother and a Moroccan father, I lived there until the age of eight. Then, I moved to Morocco
where I stayed two years in Kenitra and eight in Rabat, where I got my baccalaureate (High School Diploma) at the French
Lycée, in 1992. I left Rabat for Paris to study architecture and entered the Architecture School of Paris Belleville where the
teaching, too academic, did not convince me. I decided to quit for Paris’ Special School of Architecture (ESA) where a real
passion for architecture is born. It is also there that I met Laurent Moulin who was preparing his Diploma at that time.
Through him, I had the chance to be immediately immersed in a creative effervescence by rubbing shoulders with students in
their graduation year.
I prepared my Diploma between Paris and Lisbon where Laurent worked as Architect on the Vasco de Gama’s bridge and
where I was intern for a short period.
Upon obtaining my graduation in Architecture (DESA) in March 1999, I immediately worked as an independent architect in
Paris thanks to an order I got for three projects. Once these projects finalized, and still deeply interested in earth architecture,
Laurent and I decided to leave for Morocco end of 1999. We worked in architectural Agencies in Rabat, but soon set up our
own Agency and, in 2002, began to compete in a series of national and international competitions winning many awards. In
parallel, we did subcontracting missions for large Agencies, rehabilitation of several Riads (traditional Moroccan houses) in
the medina of Rabat, small projects and research on autonomous habitat. In 2009, we won the competition for the
construction of the Center of Documentation and Information (CDI) of the French Lycée Descartes in Rabat. We realized a
bioclimatic building including Tromb walls and mobile deflectors. Years 2011 to 2014 were largely devoted to the realization of
two personal autonomous projects: an autonomous house (off the city networks) in the medina of Rabat and a small hotel off
grid in the South of Morocco. 2015 will be devoted to the project design of an autonomous building that will be presented for
funding and implementation to institutions and people interested in such a project.
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MYRYAM SOUSSAN
“
The potential to extract civic opportunity is a key motivation in KTA’s work. Whether a private dwelling or
a community building, civic architecture enables meaningful relationships and connections between
people and place. Its value lies in what it contributes to its situation – built, ecological, cultural– as part of
a greater whole. A counter argument to the reduction of architecture to icon in the fashioning of our
cities, our projects seek to foreground the act of living and joys of occupation. Robust, generous and direct
in their material and formal character they exploit architecture as an instrument for reinforcing the
spatial particularities of place and constructing the identity and experience of the local.
”
KERSTIN THOMPSON – Australia
BIOGRAPHY
23 October 1965, MELBOURNE (AUSTRALIA)
Kerstin Thompson is Principal of Kerstin Thompson Architects (KTA), Principal of Tasman Workshop, Professor of Design
in Architecture at Victoria University Wellington and adjunct professor of Architecture at RMIT & Monash Universities.
Located in Melbourne, Australia, KTA was started in 1994 and has established itself as a significant and innovative
reference point in Australian architecture and urban design.
Kerstin is a writer and lecturer with close links with schools of architecture and professional institutes in Australia and
overseas.
She plays an active role not only within the profession, but also in promoting quality design in the wider community through
her role as Panel member on the Office of the Victorian Government Architect’s Design Review Panel.
She was Creative Director for the 2005 RAIA National Conference and the 2008 Venice Biennale and a member of the
BEIIC Advisory Committee.
Kerstin has also been an elected National Councilor for the Australian Institute of Architects and was elevated to Fellow by
the Institute in 2013.
KERSTIN THOMPSON
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KERSTIN THOMPSON
“
I gradually decided that I wanted to become an architect, while I was attending a
painting and sculpturing course at school (around the age of 13). There, I started to
develop a manner of thinking, of looking at things, of doing things that was, until then,
latent in me. I started a uniform training of the “head”, the “hand” and the “heart”, an
education based on subjective experience and objective rationale thinking. This
combination led me finally to study architecture (and not fine arts).
I think that nowadays, in my country the architecture community usually seems to give
equal recognition to the work of male and female designers. Nevertheless, women who
decide to have a family have plenty of additional activities, obligations and
responsibilities, and they have to work the double to overcome successfully to their role in
the professional field and in the family, as well.
”
SOFIA TSIRAKI – Greece
BIOGRAPHY
November 1970, Athens, Greece
Sofia Tsiraki is working as an Assistant Professor (and a PhD candidate) in the department of Architectural Design in
NTUA. She has won First prizes in a range of architectural competitions, while some of her realized projects have earned
several distinctions. The “House-box: Private residence and space of cultural activities in Koukaki” has been nominated
for Mies Van der Rohe award 2013. The project “The dissolution of the box: Apartment block in Gazi” has been awarded
with the Hellenic Institute of Architecture First Prize 2013 for the best realized project throughout the years 2009-2013.
She has served as editor and contributing author in three collective publications, and participated in several architecture
exhibitions.
SOFIA TSIRAKI
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SOFIA TSIRAKI
“
Born in an architect’s house, my encounter with architecture came too soon. The renders my father used to bring
home seemed to solve all the world problems in his daughter’s mind. I grew up wanting to design that perfect
family house that brought love and warmth to its residents. I remember sketching schools and hospitals, green
parks that will come to change the landscape of my city. As I went through college, I was fed with even more of
those Utopian dreams. I remember always being rebellious in my architectural solutions. Professors used to tell me
just to enjoy the ‘aesthetics’ of design… but to me architecture was a synonymous with change, development and
always a chance to impact my context. However, growing up in the Middle East - a struggling region with
economical, social and many political issues – means to be hit hard by the 'reality' of architecture. As I started
practicing, design felt useless, a more avant-garde experience. People resisted change and had higher priorities to
call for. I created an escape strategy of working on a smaller scale on social projects that educate more about
design and how to utilize it for development. Yet this brought me back to practicing architecture with better
awareness. I was lucky to work on projects that offered more to the society. To me architecture now is a complex
synthesis of individual and communal desires, the context, the cultural and environmental appropriateness and
technological means that can adapt specifically to each proposal.
I believe architecture must step back from the 'architects ego' and his high aesthetical fashionable solutions.
Architecture must set different priorities and come closer to the people to ultimately become a liberating process.
”
RULA YAGHMOUR – Jordan
BIOGRAPHY
23rd September 1985, Amman, Jordan
Rula Yaghmour, a holder of an Architectural Engineering degree, is the lead designer at Yaghmour Architects based in
Amman. She graduated from the Jordan University of Science and Technology (2007). Aside from architecture Rula is
interested in the various fields of design and arts. She is a contributor in INTERRUPTIONS, an independent non-profit
initiative that enables non-standardized experimentation on architecture, design and culture. As part of this initiative, Rula
took part in the preparation of several workshops and exhibitions.
Yaghmour has also lectured in Jordan University as a part time design studio lecturer in the year 2012. Today she is a
lead designer for several projects at Yaghmour Architects. She is currently working on renovating and rehabilitating the
Jordan River Foundation new showroom, a foundation that has initiated numerous socio-economic projects for women,
which aim to provide employment opportunities that in turn enhance their livelihoods. Along with some research and
planning for a new project in Nablus, Palestine, to create a cultural and heritage center for the city, Rula was the
curator/instructor of Design Voices, a project in collaboration with Ruwwad, the Arab Foundation for Sustainable
Development. The design workshops focused on liberating the voices of the children of Jabal Al Nathief through design
as a tool and a mean of expression to enhance and develop their built environment. She's also the curator of Gallery 27,
an exhibition depicting the story of an architect. Rula is also a member of the Center for the Study of the Built
Environment. She's interested in the community and the challenging built environment where she inhabits and practices
her profession.
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RULA YAGHMOUR
“
To me, architecture is an ongoing construction process, a relationship with the landscape. But is in the
understanding of human thinking and living that I found my deeper interest. It is also a collective
thinking process - with the client, a development, a game with surfaces, colors and scales as well as an
understanding of locations and the necessity to accept the given location as it is. We made ours the
quote from an unknown architect “You shouldn’t build on one place, but you should build the place”.
We try to take up local, traditional building elements, the so called local reference of materials. We
look at the history with the perspective for the future. Materials and objects found on the building site
might have a special value and they later influence the design process. The things worthy to preserve
are reused and inserted. During the work within or with the old existing building the new enters into
dialogue with the old, though the new remains recognizable as such and claims its position. The new
volume continues and shapes the landscape.
”
MICHAELA WOLF – Italy
BIOGRAPHY
23rd May1979, Meran, Italy
Michaela Wolf attended for two years the wood carpenters school. This allowed her to work together with her father in his
workshop, gaining experience in terms of modelling wood and detailing for wooden constructions. During her studies in
Innsbruck, she spent one year in London and Milan as an exchange student; she also lived in Tokyo, New York, and in
other areas of Europe, for a shorter time.
In 2006, her collaboration with Gerd Bergmeister started.
In 2009, they established bergmeisterwolf architekten office, in Brixen and Vienna.
Since then, the projects of their practice have been published on many national and international magazines and books.
They also received many awards and have been invited to share their competencies and experience in many
conferences and workshops both in Italy and abroad. In the years, the office developed a unique approach in dealing with
landscape and existing buildings; inspired by a positive dialogue with clients, constructors, and other professionals – like
landscape architects and sociologists – they worked on a wide range of buildings, from retail to houses, from workshops
to pieces of design, from cellars to hotels. Their friendly relationship with carpenters and clients allowed them to start a
profitable experience in creating customized and unique objects for their project. Close interdisciplinary collaboration with
other architects, engineers, sociologists and philosophers, and artists, such as Manfred Alois Mayr, has pushed this
research even further in the past years.
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COPYRIGHT PICTURES
günter richard wett
jürgen eheim
ulrich egger
MICHAELA WOLF
“
I enjoy shifting interests from project to projects, but there are a few things in common to all our
projects:
We include all concern and criteria from as many different areas, regardless of how restricting
they seem at that point, with faith that they will eventually enrich the project. Then we input
these through a very tight filter that is our project objective. We aim that project outcomes are as
far-reaching and as broad as possible.
In every project there is a desire to give people new experiences—ideally exquisite, or cathartic
experiences, or deeply satisfying experiences—and to make spaces for genuine encounters
between people. There is also a desire to understand the right relationship between architecture
and nature. In every project we spend countless hours balancing all elements of the project,
material or non-material, hoping to breathe life into the project.
Now writing to an all female jury, I laugh as I realize how female these instincts are, because for
a long time they seemed our peculiar private obsessions.
There is also a (gender neutral?) trait to think deductively rather then inductively: first to look for
new viewpoints, then new strategies, and only then new solutions to any given problem or
situation.
”
ZOKA ZOLA – Usa
BIOGRAPHY
September 3rd, 1961, Rijeka, Croatia
Zola holds a Master of Architecture degree from University at Zagreb and a Master degree from the Division of
Humanities at the University of Chicago. She is a licensed architect in IL USA, UK and Croatia.
During her studies of architecture at Zagreb University, Zola worked for studios of Prof. De Feo, Prof. Francesco Cellini,
and Prof. Paolo Portoghesi in Rome. She then moved in to London to study at The Architectural Association. After
apprenticing at David Chipperfield Architects, Zola established her own studio in London designing small public projects
and restaurants while also teaching at the Oxford Brookes University and as Unit Master at the Architectural Association.
In 1997, Zola moved to Chicago where she first realized the Pfanner House. The house won the Home of the Year Award
as the best house in North America by Architecture magazine and was included in American Masterworks by Kenneth
Frampton as one of 43 houses built in the USA in the last 140 years. Her practice’s other work includes three zero-energy
houses (one in Chicago and two in Kuala Lumpur), a solar tower in Chicago, two towers for solar thermal power plant in
California, construction and hosting of a Web 2.0 open source web site (the first platform for sharing of knowledge about
sustainability across cultures and disciplines,) an urban plan for Chicago, a prototype for prefabrication of kindergardens,
a zero-energy hostel constructed out of bamboo in Hong Kong, a house in Spain that explores subtle energy of space
through its geometry and concrete mix, and affordable housing in Croatia. In Chicago, Zola has taught at The School of
the Art Institute, the University of Illinois in Chicago, and at the Illinois institute of Technology where she most recently
developed with students a Scenario for the Future of Chicago Based on Technology.
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ZOKA ZOLA