法國(guó)AZC設(shè)計(jì)事務(wù)所

建筑實(shí)踐

AZC事務(wù)所成立于2001年，公司創(chuàng)辦理念是探索建筑設(shè)計(jì)及其工藝，用于改善人居環(huán)境。在概念之外，我們總是尋求創(chuàng)造富有生命力的建筑的。

通過(guò)競(jìng)賽與直接設(shè)計(jì)委托，事務(wù)所已經(jīng)著手設(shè)計(jì)了一百多個(gè)不同尺度和類(lèi)型的項(xiàng)目。已建項(xiàng)目名單涵括了從第一棟給兒童使用的公建到社會(huì)保障住宅、養(yǎng)老院、體育場(chǎng)館、禮堂、辦公樓、私人住宅、直到巴黎和雷恩市最新的八個(gè)地鐵站。

通過(guò)與工程師和專(zhuān)家團(tuán)隊(duì)的合作共事，AZC參與監(jiān)控從概念設(shè)計(jì)到建造的所有項(xiàng)目階段，期望能突破創(chuàng)造與革新的界限。

公司大部分的項(xiàng)目已經(jīng)在許多國(guó)家發(fā)表，展示或者榮獲獎(jiǎng)項(xiàng)。并且我們多次受邀參與可持續(xù)發(fā)展、多樣性和技術(shù)創(chuàng)新主題的研討，表明了我們對(duì)此類(lèi)主題的探究。

我們先后在美國(guó)、英國(guó)和法國(guó)“最佳住宅獎(jiǎng)”等國(guó)際競(jìng)賽中贏得獎(jiǎng)項(xiàng)，從而促使事務(wù)所在國(guó)際上獲得一定的知名度。

建筑師的使命是具體的、關(guān)乎物質(zhì)的。而建筑是集體努力的結(jié)晶，我們謹(jǐn)記我們所創(chuàng)作的是全團(tuán)隊(duì)協(xié)作組織的成果。

AZC現(xiàn)今是一個(gè)由25名來(lái)自世界各地的優(yōu)秀建筑師組成的的事務(wù)所。有說(shuō)法語(yǔ)、英語(yǔ)、德語(yǔ)、意大利語(yǔ)和羅馬尼亞語(yǔ)的。不同文化的融匯與碰撞定義了我們事務(wù)所，也激發(fā)我們超越不同國(guó)界的渴望……

設(shè)計(jì)方法

我們把建筑設(shè)計(jì)看作一門(mén)從人類(lèi)集體層面汲取養(yǎng)分的學(xué)科。

在建筑實(shí)踐中指導(dǎo)與鼓舞我們的是其普遍性的特征，正如路易?康提到的”建筑是有思想的空間創(chuàng)造“。對(duì)我們來(lái)說(shuō)，每個(gè)方案始于一個(gè)由不同任務(wù)書(shū)限定的規(guī)則和個(gè)人選擇之間的平衡的研究。我們最終總是自問(wèn)什么才是最重要的。我們會(huì)把項(xiàng)目看作一種期望的表達(dá)而非一個(gè)需求的滿足。客觀地說(shuō)，當(dāng)人類(lèi)的基本需求多少還停留在原地時(shí)，而人類(lèi)的期望卻在不斷地提升。

建筑學(xué)，是關(guān)乎有生命力的房屋。每當(dāng)設(shè)計(jì)一個(gè)方案，我們希望展現(xiàn)一個(gè)高效的建造邏輯。因此，我們重新審視方法、建造資源、和現(xiàn)場(chǎng)的實(shí)施，用以尋求明顯的解決方案。我們的職責(zé)是基于本土的也是全球性的。使一個(gè)方案具有合理性，意味著理解其語(yǔ)境，涉及關(guān)心在特定的物質(zhì)和經(jīng)濟(jì)環(huán)境中的建造問(wèn)題。

隨著科技發(fā)現(xiàn)和創(chuàng)新，建筑可持續(xù)性和永久性的問(wèn)題擺在我們眼前。當(dāng)今我們面臨最大的挑戰(zhàn)，是創(chuàng)造持久的建筑，而非宏偉的建筑。

建筑翻新

如果不用修復(fù)的方式，我們還能如何應(yīng)對(duì)不可再生的自然能源即將枯竭這一現(xiàn)實(shí)？綜合考量當(dāng)今的能源、建筑、技術(shù)、經(jīng)濟(jì)和社會(huì)因素，結(jié)論是明顯的：重新開(kāi)發(fā)已有建筑成為一種道德訴求。

大量現(xiàn)有的破舊樓宇具備被重新開(kāi)發(fā)利用，成為實(shí)用的、現(xiàn)代的、有經(jīng)濟(jì)效益的新空間的潛能。

對(duì)現(xiàn)有建筑的細(xì)致分析，對(duì)其原始組成、性能、用途和其轉(zhuǎn)化而不是其破損的研究，是所謂“可持續(xù)發(fā)展”的基本思路。

拆除并重建總是比一個(gè)智慧的改造花費(fèi)更多。歸根結(jié)底，翻新是一個(gè)更明智的消費(fèi)方式。

可持續(xù)發(fā)展的城市

在不久的將來(lái)，建筑業(yè)將無(wú)疑被城市擴(kuò)張和諸如能源、建筑材料、運(yùn)輸和勞動(dòng)力等資源成本的增長(zhǎng)所支配。

城市的密集化是可持續(xù)發(fā)展的。城市資產(chǎn)和網(wǎng)絡(luò)的匯集致力于減少包括能源在內(nèi)的多種資源消耗。

但可持續(xù)發(fā)展城市不是一個(gè)簡(jiǎn)單地把高性能的、受認(rèn)證的生態(tài)建筑并置的問(wèn)題。在城市尺度上的可持續(xù)建立在公交系統(tǒng)的連通性、服務(wù)設(shè)施的效率和功能的綜合化之上。

真正的可持續(xù)性承認(rèn)共享的重要性與公共空間的品質(zhì)。難點(diǎn)在于適應(yīng)不同運(yùn)輸方式，迎合多種多樣的用途和用戶。

同樣引發(fā)質(zhì)疑的是， 是否應(yīng)該把那些導(dǎo)致污染的活動(dòng)——鐵路、垃圾處理廠、貨運(yùn)站等保留在城市內(nèi)部。

21世紀(jì)的城市終于被致力于推廣綠色空間的理念所擁抱。諸如小型農(nóng)業(yè)生產(chǎn)和社區(qū)園林等項(xiàng)目激發(fā)了生物多樣性，并且加強(qiáng)了社區(qū)的聯(lián)系。

辦公空間

二十一世紀(jì)的辦公空間的重要轉(zhuǎn)變體現(xiàn)在靈活性上。這一理念，是數(shù)量可觀的技術(shù)進(jìn)步的結(jié)果，是新經(jīng)濟(jì)發(fā)展的映照。

新技術(shù)的發(fā)展對(duì)我們的工作方式產(chǎn)生直接影響。當(dāng)今最顯著的影響就是對(duì)辦公空間的構(gòu)成這一定義含糊不清。

現(xiàn)今辦公室 是可移動(dòng)的，以模塊的形式環(huán)繞它的使用者——我們?cè)诳Х瑞^、車(chē)站、住所或者在公用的辦公空間工作。

開(kāi)放式的空間能在最短時(shí)間內(nèi)被重新配置，在區(qū)區(qū)幾小時(shí)內(nèi)就能被完全重組。當(dāng)需求改變時(shí)，公司能輕而易舉地使用或棄用辦公場(chǎng)地。

如今，一個(gè)工作站的基本需求是一把椅子、一個(gè)連接網(wǎng)絡(luò)的顯示屏、一些儲(chǔ)物單元，且具備適當(dāng)?shù)母粢粜ЧＶ劣谠撚米匀徊晒膺€是人工采光，至今仍爭(zhēng)論不休。 “上班 “ 這一概念變得更抽象了，并且透明性和私密性的觀念也在演變。人們已經(jīng)習(xí)慣于在工作中看到別人，同時(shí)也處于別人的目光之下。

根據(jù)這一簡(jiǎn)化了的想法，一個(gè)辦公樓可以被定義為一個(gè)外殼和一個(gè)樞紐，既要求給使用者提供庇護(hù)，也要整合工作所需的技術(shù)和后勤資源。其建筑的象征意義在于體現(xiàn)和傳播使用者的價(jià)值。

教育

對(duì)學(xué)生來(lái)說(shuō)，學(xué)校代表一個(gè)避風(fēng)港，他們?cè)谄渲袝诚胛磥?lái)。在一個(gè)精心設(shè)計(jì)、 光線充足的、空間組織清晰的環(huán)境內(nèi)，孕育學(xué)生對(duì)未來(lái)的憧憬。

教育類(lèi)建筑必須是讓人愉悅和平靜的。以學(xué)校應(yīng)在社區(qū)內(nèi)被賦予合理的定位這一理念為出發(fā)點(diǎn)，引發(fā)了我們要給使用者和城市提供明朗的、易于理解的建筑的欲望。

此類(lèi)項(xiàng)目以大量學(xué)生遵循上課和課間休息的節(jié)奏，頻繁穿梭于各個(gè)教室為特征。功能性、現(xiàn)代性、可持續(xù)性和空間協(xié)調(diào)是指導(dǎo)我們做教育類(lèi)建筑的主要原則。

簡(jiǎn)而言之，要求清晰的空間組織和明顯的標(biāo)志物，恰當(dāng)比例的走道和便捷的交通。中學(xué)項(xiàng)目往往是一個(gè)四層樓面圍繞一個(gè)中央庭院的布置方式。 圍繞庭院的環(huán)形交通流線是一個(gè)理想的解決對(duì)策，同時(shí)它激發(fā)了歡快氛圍、便捷了校園生活。

住宅

居住是人類(lèi)的基本需求之一。隨著城市人口的不斷遞增，住宅的生產(chǎn)已成為一個(gè)首要的經(jīng)濟(jì)活動(dòng)。

建筑師在這一進(jìn)程中身處關(guān)乎物質(zhì)的和關(guān)乎哲學(xué)的交叉口。

在密集而不斷發(fā)展的都市語(yǔ)境內(nèi)，如何能給一邊是房地產(chǎn)開(kāi)發(fā)、建筑和技術(shù) ，另邊是公共空間和社區(qū)的方程式賦予平衡關(guān)系？

現(xiàn)在是時(shí)候重新思索一個(gè)高品質(zhì)住宅的特征了，而不是無(wú)休止地復(fù)制標(biāo)準(zhǔn)化的類(lèi)型。

住宅不應(yīng)僅限于舒適和滿足需求，而且應(yīng)該在更大的圖景中被設(shè)計(jì)–- 一個(gè)更寬泛的社區(qū)概念，其中有著能開(kāi)展各類(lèi)活動(dòng)的共享空間。

住宅的外延，涵蓋了社區(qū)空間、給年輕人的場(chǎng)所、運(yùn)動(dòng)場(chǎng)地、用于園藝和共享活動(dòng)的外部空間等，這些都鼓舞了社群精神。

建筑物的“成功“至關(guān)重要。為了成功，意味著在開(kāi)窗設(shè)計(jì)、生活空間的尺寸和用于保護(hù)私密性的內(nèi)部隔墻的選擇等方面不遺余力。賦予建筑足夠的空間、高度和光線，并不一定意味著成本的增加。

醫(yī)療保健

醫(yī)療建筑遵循醫(yī)院的工作模式和方針。它回應(yīng)由專(zhuān)業(yè)醫(yī)護(hù)人員的日積月累的實(shí)踐經(jīng)驗(yàn)所決定的，非常具體的需求。

這些建筑是給非常特定的人群而設(shè)計(jì)，他們需要高標(biāo)準(zhǔn)的舒適度和使用上的便捷性。不同單元之間的距離和路線被精確測(cè)量和校對(duì)，以確保整個(gè)醫(yī)院的流線組織高效且便利。

對(duì)我們來(lái)說(shuō)，設(shè)計(jì)牽涉到思考一個(gè)醫(yī)院的運(yùn)作方式，然后提議一個(gè)契合功能的有審美價(jià)值的形式的問(wèn)題。在醫(yī)院，各種設(shè)備過(guò)多地暴露在外會(huì)給患者營(yíng)造一種不舒服的氛圍。

這些房屋的內(nèi)部一方面遵從隱私和獨(dú)處的需求，并且鼓勵(lì)與他人間的社交生活和空間共享。 所有區(qū)域都由一統(tǒng)一方針定義：慷慨人性化的尺度，并且配有露臺(tái)和花園。

文化

在對(duì)和諧與平衡的無(wú)盡追求中，人類(lèi)用藝術(shù)來(lái)定義審美的、激情的和情感的體驗(yàn)。

文化類(lèi)建筑存在于公眾視線中，來(lái)彰顯其意義。在博物館內(nèi)，具有意義的不是展出本身，而是它激發(fā)參觀者內(nèi)心的思考。

對(duì)我們來(lái)說(shuō)這涉及如何營(yíng)造一個(gè)讓人們覺(jué)得有探索的必要的空間。 一個(gè)畫(huà)廊可以成為一個(gè)供思考和冥想的場(chǎng)所。

與過(guò)去教堂的功能不同，博物館是傳播文化的地方; 參觀者前來(lái)探索那些所展出的東西，同時(shí)也是在挖掘自身。

參觀博物館是同時(shí)激發(fā)幾種體驗(yàn)的手段 : 在展出作品中獲得樂(lè)趣，也感動(dòng)于自然之美。這不僅關(guān)乎如何展出作品，也關(guān)于如何激發(fā)對(duì)基本問(wèn)題的思考。

基礎(chǔ)設(shè)施

世界上各個(gè)大城市都力求投資高效的公交系統(tǒng)，以作為城市發(fā)展的催化劑。

發(fā)展公共交通有諸多直接影響：該地區(qū)的產(chǎn)業(yè)和服務(wù)需求遞增，在公交體系內(nèi)就業(yè)崗位的增加，運(yùn)輸成本、時(shí)間和副作用的減少—例如污染、事故、能源消耗和被停車(chē)和高速公路占據(jù)的土地面積等。

地下鐵路和地鐵， 是一個(gè)新穎的觀點(diǎn)的產(chǎn)物，且一直在身份標(biāo)識(shí)和形式語(yǔ)言上自行其道。作為城市化和擁擠的象征，地鐵把人們從擁堵的城市的一頭運(yùn)載到另一頭，它的功能引導(dǎo)我們締造埋藏在地下深處的新型公共空間。

綜合考慮這些新空間的尺度和復(fù)雜性，它們的構(gòu)筑形式傾向于形成一個(gè)我們稱(chēng)之為“地鐵品牌“的整體概念。在這里，建筑關(guān)乎光線，也涉及到當(dāng)乘客從街道抵達(dá)車(chē)站平臺(tái)，環(huán)繞在他們四周的外殼所形成的抽象“風(fēng)景“。對(duì)建筑形式上的構(gòu)思摒棄了多余的手法，僅僅為了定義這些地下體量。

運(yùn)動(dòng)

城市通過(guò)一系列的在工作場(chǎng)所、學(xué)校、家庭和公交系統(tǒng)間相沿成習(xí)的慣例與路線，最終限制了我們身體和精神自由。

運(yùn)動(dòng)讓我們有時(shí)間抽離這種生活節(jié)奏，以自由、愉悅和滿足感鼓舞我們的思想。

對(duì)于每個(gè)新方案，我們力求提醒自己人們?nèi)ミ\(yùn)動(dòng)中心的動(dòng)機(jī)--諸如良好的感覺(jué)、超越自我、認(rèn)知和表現(xiàn)自我，還有給予與分享等。

在運(yùn)動(dòng)館，我們能使身心均得到發(fā)展。一個(gè)運(yùn)動(dòng)中心的設(shè)計(jì)， 必須回應(yīng)各類(lèi)體育活動(dòng)精確的規(guī)范要求，尺寸和地面標(biāo)識(shí)，以及更普遍的操作規(guī)程，如潔污分區(qū)。

這些大尺度的公共設(shè)施，為社區(qū)和公共福祉帶來(lái)切實(shí)的價(jià)值。

設(shè)計(jì)

可持續(xù)發(fā)展和共享的公共空間是當(dāng)今城市化進(jìn)程中的當(dāng)務(wù)之急，而現(xiàn)在也充斥著各類(lèi)關(guān)于建造環(huán)境、自然和居民之間的關(guān)系的臆想。

并不一定需要通過(guò)一個(gè)大型項(xiàng)目來(lái)豐富一個(gè)城鎮(zhèn)，即使是一個(gè)小型的、臨時(shí)性的干預(yù)措施，例如在一個(gè)重要場(chǎng)所的有時(shí)效性的活動(dòng)，也能給城市帶來(lái)巨大影響力。

我們的實(shí)踐已經(jīng)涉及對(duì)很多理念和裝置的思考，它們?cè)谀撤N程度上取悅了城市居民，轉(zhuǎn)變了他們看待自己所身處的城市的場(chǎng)所和習(xí)俗的觀點(diǎn)。

我們的目標(biāo)是邀請(qǐng)城市居民參與一些與城市景致結(jié)合的，非常規(guī)的有趣事件: 一個(gè)龐大的充氣橋，用來(lái)體驗(yàn)在塞納河上方跳躍的快感，一個(gè)坐落于倫敦公園內(nèi)讓人冥想的涼亭，一個(gè)能坐在過(guò)山車(chē)上高速瀏覽的博物館 …

人類(lèi)自古以來(lái)對(duì)一些基本福祉保留了一定的懷舊情懷。這些方案把極樂(lè)世界注入城市中心，致力于喚醒感官的更本質(zhì)的體驗(yàn)，而不是購(gòu)物或其他常規(guī)的城市活動(dòng)。

獎(jiǎng)項(xiàng)和展出

2014年 TERRASSE 9 榮獲EDF獎(jiǎng)和Pyramides d’Argent頒布的創(chuàng)新獎(jiǎng)項(xiàng)

2014年 “巴納姆城“參與 里爾“Architectural Ride“展出

2013年 “蹦床橋”參與巴黎IN VITRO展

2013年 “和平宮”在慕尼黑獲得ICONIC獎(jiǎng)項(xiàng)

2013年 “和平宮”獲ARCHTRIUMPH競(jìng)賽一等獎(jiǎng)

2013年 “巴特西電站”在倫敦獲ARCHTRIUMPH競(jìng)賽一等獎(jiǎng)

2012年 “蹦床橋”獲得A+ AWARD一等獎(jiǎng)

2012年 “巴黎蹦床橋”獲ARCHTRIUMPH競(jìng)賽三等獎(jiǎng)

2012年 “巴黎Claude Bernard 地塊綜合樓”獲MIPIM一等獎(jiǎng)

2011年 雷恩WAF競(jìng)賽”4個(gè)地鐵站“獲勝團(tuán)隊(duì)

2010年 巴黎 EVOLO競(jìng)賽”Evolo 10 塔“ 特別獎(jiǎng)

2009年 ”Strasbourg路住宅“獲EDF低碳競(jìng)賽一等獎(jiǎng)

2008年 ”P(pán)lanchette樓“在巴黎的”建筑=可持續(xù)“展出

2005年 ”曼特澤南國(guó)庫(kù)“獲GRAND EST競(jìng)賽一等獎(jiǎng)

合伙人簡(jiǎn)歷

Grégoire ZüNDEL—科爾馬，法國(guó)

1995年 畢業(yè)于法國(guó)斯特拉斯堡國(guó)立高等建筑學(xué)院

1996年－2000年 與M. Fuksas, 巴黎 J. Ferrier , 香港Terry Farrell & Partners共事

2004年－2006年 斯特拉斯堡國(guó)立高等建筑學(xué)院兼職教授

2001年與Irina Cristea成立AZC事務(wù)所

國(guó)籍：法國(guó)、瑞士、美國(guó)

Irina CRISTEA—布加勒斯特，羅馬尼亞

1995年 畢業(yè)于法國(guó)斯特拉斯堡國(guó)立高等建筑學(xué)院

1996年－2000年 與M. Fuksas, 里昂－巴黎Du Besset ,香港Hsin Yieh共事

2001年與Grégoire ZüNDEL成立AZC事務(wù)所

國(guó)籍：羅馬尼亞、法國(guó)

The practice

AZC was set up in 2001 with the idea that exploring architecture and its techniques could help us to improve the built environment. Our interest does not lie in concept alone, our passion is in designing real buildings that are built for real life.

through competitions and direct commissions, our practice has worked on over a hundred projects of varied scale and use. the list of our built projects ranges from public buildings for childcare, social housing and carehomes, sports complexes,auditoriums, of fi ce buildings and private houses, right up to eight new metro stations in rennes and Paris.

in collaboration with engineers and other specialist consultants, AZC participates in the management of every phase of the project, from design to completion, always looking to promote ingenuity and innovation.

Most of our projects have been published, exhibited or have won prizes internationally, giving us frequent opportunities to present our thoughts on sustainable development, social mixity, or innovative technical ideas, illustrating our preoccupations and beliefs.

Awards from international competitions, in the United states, the United Kingdom,and in France the MiPiM ‘Best residental Award’, have brought the practice international recognition.

the end product of our profession is concrete and tangible. Architecture is a collaborative process and it is important to remember that what we achieve is the result of organised team work.

AZC today numbers some 25 people, quali fi ed architects from all over the world.We speak French, english, German, italian, romanian… the cultural mix which de fi nes the practice feeds our desire to cross frontiers …

Architectural Approach

We see architecture as a discipline that is fed by the notion of community.

in practicing architecture, we are guided and motivated by its universal character,in the sense that louis Kahn expressed as ’the thoughtful making of spaces … the creating of spaces that evoke a feeling of appropriate use’. For us, each project begins with looking for a balance between the structured order imposed by the brief,and the possibilities of personal choice. We always end up asking ourselves what is really important.

We like to consider the brief in the light of desire rather than necessity. Objectively,it is mankind’s desires that evolve rather than our needs, which have been pretty much the same for ever. Architecture is about buildings which come

alive. Each time we design a project we want to fi nd an ef fi cient building approach.We look for obvious solutions, which reconsider the means and resources available for fabrication and local supply.

Our responsibility is as much local as it is global. to give coherence to a project one must understand its context, which means taking into consideration problems linked with building in that particular environment, in both physical and fi nancial terms.

With the speed of new discoveries and advances in technology. we are concerned by considerations of sustainability and timelessness in architecture. today’s greatest problem is to design architecture which is lasting without being imposing.

Renovation

How else can we prepare for natural, non-renewable energies running out, if not by restoration? Assessment of today’s energy, architectural, technical, economic and social considerations makes is clear that the redevelopment of existing buildings is a moral obligation.

Many existing dilapidated buildings have the potential to be redeveloped as new spaces that are useful, modern and economically pro fi table.

detailed analysis of existing buildings, study of their original make-up, their capacity,

their use, and their transformation rather than their destruction are the fundamental ideas of what is referred to as ‘sustainable development’.

demolition and rebuild will always be more costly than a clever transformation.Ultimately, a renovation is a wiser use of money.

The sustainable city

the immediate future of architecture will undoubtedly be dictated by spreading urbanisation and the growing cost of resources such as energy, building materials,transport and labour.

Urban densi fi cation is sustainable. Pooling the assets of urban space and its networks contributes to a reduction in the consumption of resources, including energy.

But the sustainable city is not simply a question of closely grouped buildings,however ef fi cient, highly rated or ecological they may be. Sustainability on an urban scale is established with the connectivity of public transport systems, the ef fi ciency of services and the mixed uses.

true sustainabililty acknowledges the importance of shared, quality public space.The dif fi culty is in accommodating a range of different modes of transportation and catering for a variety of uses and users.

Also called into question is whether or not activites considered pollutant – railways,waste treatment plants, transport depots – should be kept within the city.

the 21st-century city at last embraces the idea of promoting green spaces within an urban context. Projects such as the development of small-scale agricultural production and community gardens stimulate biological diversity and reinforce community links.

Of fi ces

The major change to the workplace of the 21st century is fl exibility. This idea, which is the result of considerable technical progress, reflects the evolution of a new economy.

the development of new technologies has a direct impact on the way we work.the most spectacular consequence of this today is the blurred definition of what constitutes the work place.

Today’s of fi ce is mobile and is moulded around its user – we work in cafés, stations,at home or in shared workspaces.

Open-plan spaces can be redeployed in record time, totally recon fi gured in a matter of only a few hours. As its requirements change, a company can easily take on or move on from its premises.

today, the basic requirements of a work station are a seat, a screen with internet access, a couple of storage units to tidy things away, and reasonable acoustic insulation. The jury’s out over natural lighting versus arti fi cial lighting. As the idea of‘going to work’ becomes more abstract, notions of transparency and privacy evolve.People are used to being seen and seeing one another at work.

Following this simplified idea, an office building can be defined as a shell and a hub, required both to shelter its occupants from the outside, and to assemble the technical and logistical resources required for work. the symbolic role of its architecture is to embody and communicate the values of its occupants.

Education

For students, school represents a haven from which to consider the future. A well thought-out environment, well lit and organised, nurtures a student’s future con fi dence.

Architecture for education needs to be cheerful and calm. the desire to provide users and towns with bright and readily understandable buildings comes from the notion that a school should be given its rightful place within the community.

education is characterised by large classrooms frequented by large numbers of students, obliged to move around in groups following the rhythm of class and break times. Functionality, modernity, sustainability and space management are the principle objectives that guide the design of buildings for education.

Briefs request clear organisation and way fi nding, correctly proportioned corridors and easy accessibility. secondary school projects often plan buildings on four levels arranged around a central courtyard. Circulation in a loop around the

courtyard is an ideal solution, as it stimulates conviviality and facilitates movement around the school.

Housing

Accomodation is one of man’s basic needs. With the growing urban population, the production of housing has become a primary economic activity.

the architect is at the physical and philosophical intersection of this process.

How can the equation between, on one side property development, architecture and technology, and on the other public space and communities, be resolved within a dense and evolving urban environment?

Instead of endlessly reproducing standard typologies, it is time for a fresh re fl ection on the characteristics of good housing. Housing should not only be comfortable and desirable, but should be designed as part of a larger picture – a broader notion of community, with shared spaces for a variety of activities.

extending housing schemes to include community spaces, places for the young, for playing sports, external spaces for gardening and shared activities, all encourage community spirit.

it is important that a building ‘succeeds’. to succeed implies generosity in the design of the openings, in the dimensions of the living spaces and in the choice of internal partitioning to preserve privacy. The provision of space, suf fi cient height and light,does not necessarily imply added cost.

Healthcare

Architecture for healthcare follows clear guidelines for working hospitals. it replies to very speci fi c requirements, determined by cumulative experience of healthcare professionals.

the overall organisation of these buildings is based on a system of horizontal spaces that enables common access to equipment, and proximity and visibility between different services.

This architecture is designed for very speci fi c users who require greater levels of comfort and ease of use. distances and routes between different units are measured and calibrated to ensure ef fi cient and easy circulation around the hospital.

For us it is a question of considering the way a hospital works and then proposing an aesthetic that fi ts its precise requirements. Over-visible technology in a hospital,for example, can create an uncomfortable ambience for patients.

these buildings’ interiors respect the need for privacy and solitude on the one hand, and encourage communal life and shared space on the other. All the areas are de fi ned by a therapeutic protocol: they are generously proportioned and have terraces and gardens.

Culture

In our endless quest for harmony and balance, mankind uses art to de fi ne aesthetic,powerful and emotional experiences.

The architecture of cultural spaces fi nds its meaning in the presence of the public.in a museum, it is not the exhibition itself which has meaning, but its capacity to stimulate re fl ection in the minds of its visitors.

For us it is about creating a space which people feel compelled to explore. A gallery can be a space for re fl ection and contemplation.

rather like the role of the church in times past, museums are places for the distribution of culture; visitors come to discover what’s on offer, at the same time discovering something about themselves.

the museum visit is a means of inciting several experiences at once: to take pleasure in the works on display, to be moved by the beauty of nature. it is not only a question of exhibiting work, but also of stimulating re fl ection on fundamental questions.

Infrastructure

The world’s large cities are looking to invest in ef fi cient public transport systems as catalysts for their development.

The direct effects of developing public transport are numerous: increased demand on property and services in the area, increased employment in public transport, and a reduction in costs, time and the harmful side-effects of transport – pollution, accidents,energy consumption, and land taken up by carparks and motorways.

Underground railways, metros, are the result of an original idea which has developed its own identity and formal language. symbol of urbanism and the congested city, its function, to transport people from one side of the congested city to another, has led to the creation of new public spaces buried deep underground.

Considering the scale and complexity of designing these new spaces, their architecture tends to form part of a global concept that we think of as the ‘metro brand’. Here, architecture is all about light, and the abstract ‘landscape’ that forms an envelope around the traveller as he moves from the street to the station platform, an architecture whose formal concept is simply to de fi ne these underground volumes.

Sport

Cities restrict our physical and spiritual freedom to a set of rituals and established routes, between work or school, home, and the public transport systems …

sport gives us time out from this daily rhythm, lifting our spirits with a sense of freedom, pleasure, ful fi lment.

For each new project, we try to remind ourselves of the reasons why we go to a sports centre – among these are feeling good, surpassing ourselves, learning and exerting ourselves, but also giving and sharing.

sports halls are places where we can evolve in both body and spirit. A sports centre’s architecture must respond to precise regulations for each sports activity– volumes, distances and fl oor markings, as well as more general operating rules,such as separating areas for outdoor shoes and sports shoes.

these are large-scale facilities that are open to the town, of real value for the community and public well-being.

Design

sustainable development and shared public space are the primary preoccupations in today’s urbanisation, with endlessly expanded ideas on the relationships between the built environment, nature and the inhabitants.

it does not always take a large-scale project to profoundly enrich a town; small, even temporary interventions, such as timely events in key venues, can have a powerful impact.

Our practice has given a lot of thought to ideas and installations likely to please citydwellers and to transform the way they think about places and practices within their town.

Our aim is to invite city dwellers to unusual and fun events that play with their urban landscape: an inflatable bridge with giant trampolines just for the fun of jumping above the seine, a pavilion inviting meditation in a london park, a museum visited at high speed aboard a roller-coaster …

Mankind maintains a certain nostalgia for some kind of basic wellbeing from times past. these projects bring new elysian Fields right into the heart of the city, dedicated not to shopping or other habitual urban activity, but rather to more fundamental experiences that awaken the senses.

Prizes and Exhibitions

2014 – terrAsse 9, Prizewinner for the “edF” and “innovation” categories at the Pyramides d’Argent

2014 – BArnUM CitY, exhibition of “Architectural ride” in lille

2013 – in VitrO, exhibition of “Contemporary Bridge” in Paris

2013 – iCOniC AWArd in Munich, Winner for “Peace Pavilion” and “Contemporary Bridge”

2013 – ArCHtriUMPH COMPetitiOn, 1st prize for “Peace Pavilion”

2013 – ArCHtriUMPH COMPetitiOn, 1st prize for “Battersea Power station” in london

2012 – ArCHtriUMPH COMPetitiOn, 3rd prize for “Contemporary Bridge” in Paris

2012 – A+ AWArd, 1st prize for “Contemporary Bridge” in nY

2012 – MiPiM AWArds, 1st prize for “immeuble Mixte ZAC Claude Bernard” in Paris

2011 – WAF, Finalists for “4 Metro stations” in rennes

2010 – eVOlO COMPetitiOn, special Mention for “tour evolo 10” in Paris

2009 – edF COMPetitiOn - lOW CArBOn, 1st prize for “Maison rue de strasbourg”

2008 – ArCHiteCtUre=sUstAinABle, exhibition of “immeuble Planchette” in Paris

2005 – GRAND-EST COMPETITION, 1st prize for “Trésorerie” in Muntzenheim

CV

Grégoire ZüNDEL, Colmar - France

1995, Graduated of ensA in strasbourg, France

1996-2000, Collaborations with M. Fuksas, J. Ferrier - Paris, terry Farrell & Partners- HK

2004-2006, Visiting teacher to ensA of strasbourg

2001, Founding of AZC with irina Cristea

Nationalities: French, Swiss, American

irina Cristea, Bucharest - romania

1995, Graduated of ensA in strasbourg, France

1996-2000, Collaborations with M. Fuksas, du Besset-lyon - Paris, Hsin Yieh - HK

2001, Founding of AZC with Grégoire Zündel

Nationalities: Romanian, French