Danish studios EFFEKT and CF Møller Architects have completed the Svendborg International Maritime Academy in Denmark, using an exposed concrete frame to echo its industrial surrounds.
Overlooking the harbour in the North Quay of the former port city Svendborg, the 12,500-square-metre centre unites several previously separate departments of Svendborg International Maritime Academy (SIMAC), providing combined study spaces for 1,000 students.
EFFEKT and CF Møller Architects designed a “resilient grid” for the building formed of prefabricated concrete elements, which nods to the surrounding architecture and is divided with glass partitions to create teaching spaces that can be easily modified or adapted in future.
“We set out with the desire to create an extremely raw and transparent grid structure, contextually adapted to its industrious setting while capable of staging the school’s workshop-based content,” explained CF Møller Architects partner Mads Mandrup.
“[It is] a scaffolding of spatial possibilities, centred around encouraging young people to encounter and exchange ideas through informal meetings, both within and out towards its surroundings, activating the whole harbour front of Svendborg,” Mandrup added.
SIMAC’s teaching spaces are organised across five storeys around a central 20-metre-high atrium. Lined with balconies, this atrium visually connects each level to a communal seating area on the ground floor.
Double-height spaces house specialist workshops alongside conventional offices and classrooms, with the glass partitions intended to “stimulate communication and informal exchange” between areas, said the studios.
On the roof is a communal terrace for students and staff, providing both internal and external spaces with expansive views out across the harbour framed by the hollow concrete grid.
Taking cues from the raw concrete structure, interior finishes have been kept minimal and unfinished, with exposed ducting and steel balustrades. Social areas are visually softened by wooden details, including an area of tiered seating.
On the building’s exterior, panels of glazing and corrugated metal have been pulled back to express the concrete structure. In each corner, the grid is cut away to create sheltered external areas for the cafe and canteen, which are open to the public.
“You see the same raw, minimalist exposed column-girder structure both from the outside and the inside,” said EFFEKT co-founder Sinus Lynge.
“The space essentially flows through the building’s structure, and the intriguing aspect concerning the concrete elements is that SIMAC’s structure is the architecture,” he added.
SIMAC is the first project to be completed as part of a wider masterplan for a new district in Svendborg, which is set to transform 5.5 hectares of industrial area with new education, business and residential buildings.
Elsewhere, EFFEKT also recently completed Denmark’s first treetop walkway at the Hamaren Activity Park in Fyresdal and CF Møller Architects created the headquarters for Lego in Billund with a bright yellow atrium.
Chicago architecture firm Studio Gang has expanded a California college through the addition of mass-timber structures that were informed by how fungi grow in the wild.
Kresge College is a part of the University of California, Santa Cruz. Most of its campus was originally designed by American architects Charles Moore and William Turnbull in the early 1970s.
Studio Gang was tasked with expanding the footprint of the project along the northwest extent of its property, nestled in a lush Pacific forest.
Four buildings were designed to complement the existing structures – California modern-style buildings with stucco walls and splashes of colour – and the woodland environment. All of the buildings feature concrete podiums, which support load-bearing timber walls.
“Our goal was to add new qualities to the sense of place offered by Moore and Turnbull’s design, rather than to replicate the architecture,” said studio founding principal Jeanne Gang.
“We wanted our expansion to retain the qualities of surprise and free-spiritedness that have defined Kresge College, while at the same time opening it up to students of all abilities, the incredible natural ecology of its site, and the larger university community beyond.”
The expansion’s centrepiece is an academic centre with a series of protrusions that jut out asymmetrically from a core. Three simple, bow-shaped structures were placed to its southeast to house students.
The Kresge College Academic Center sits on an uneven site next to a steep ravine. To navigate this site, the studio used methods it said were inspired by the growth patterns of polypore fungi, by simultaneously “stepping down the slope and flaring out”.
The centre’s flared form was clad in a metal curtain wall, rendered in a light colour to reflect the mid-century buildings, while the faces of each protrusion feature floor-to-ceiling glass trimmed with timber.
At the centre is a large lecture hall, surrounded by a triple-space atrium with smooth concrete hallways and elevated walkways that connect to the four protruding spaces.
These hold classrooms and utilise the slope with three storeys that line up with the two-storey central structure.
The largest of these protrusions features a smaller lecture hall on the top level, with a roof that slopes up and out in a sizeable lip.
The smaller residential buildings are all bow-shaped, a move the studio said was implemented to preserve as much of the redwood tree groves on the site as possible.
These buildings are five storeys tall and have a central core set back from the wood-clad exterior, with large window boxes on each end that create sheltered patios on the second storey.
The recesses between the window and the facade were painted bright yellow, which resonates with the colours used in the Moore and Turnbull designs.
Like the academic centre, these structures have concrete podiums with load-bearing timber walls. However, cross-laminated ceilings were included and in many places, these elements were left exposed.
The bottom floors of these residential structures were left open for social spaces and amenities, while the top floors hold habitations: about 100 students can live in each structure.
Studio Gang also made interventions in the landscape, restoring and expanding the paths already connecting the campus and a long pedestrian bridge that crosses the ravine next to the academic centre. It also added a square at the building’s primary entry.
Studio Gang has completed a number of high-profile projects this year, including museum expansions in Arkansas and New York City. Kresge College is part of the studio’s move towards using more mass timber, and it has been selected to complete a theatre using this material in the Hudson Valley.
Visualisation artist Charlotte Taylor discusses how she is translating her digital design work into built architecture projects for the first time in this interview.
Taylor is the founder of 3D-design studio Maison de Sable, where she collaborates with other 3D designers on renderings of imaginary, fantastical interiors and buildings.
Recently Taylor’s designs have become less fantasy-driven and closer to real spaces, with some of them set to get built as physical architecture projects.
“In the long term, I’d like to move more into architecture,” Taylor told Dezeen.
Having not pursued formal architecture training, the designer believes there should be more non-traditional pathways to designing buildings.
“I didn’t train in architecture at all,” she said. “I think it would be great if there were more entries into architecture because it’s such a hard career to get into.”
“I’d like to think that there’s hope that you can get into building physical spaces through unconventional means.”
One of Taylor’s designs due to be built is Casa Atibaia, a house that was originally conceived as an imaginary project in collaboration with designer Nicholas Préaud.
The duo imagined the house situated by the Atibaia River in São Paulo, creating a digital model of part of the riverbank based on information from Google Maps.
From this, Taylor and Préaud designed a concrete and glass fantasy home raised on huge boulders, the interior of which features on the front cover of Taylor’s first book, Design Dreams, published last month.
Although the project was not originally intended to be built, Taylor is now in the process of finding a plot of land suitable to actualise the design.
Taylor has also collaborated with architectural designer Andrew Trotter on a house in Utah, which forms part of Trotter’s wider design for a hotel and retreat centre named Paréa.
The house, which is currently under construction, was designed to blend into the desert landscape with large spans of glazing and walls finished in lime plaster.
According to Taylor her fictional designs have received a mixed response from architects, with some saying that “in the real world, it doesn’t work like that”.
But for Taylor, not having an architecture degree and exploring spatial design digitally without being constrained by lighting, noise, safety and budget requirements allows for more creativity.
“It acts as a sort of creative playground for me in which I can test out all these concepts and see how they work visually,” said Taylor.
“Then bringing that into the physical world and working with engineers and architects, it becomes pared down.”
“I think not having architectural education makes you find different solutions or ideas to bring to the real world that wouldn’t have come from just designing an actual space,” she added.
The designer mentioned that her design icon Carlo Scarpa also never became a licenced architect.
“My icon, Carlo Scarpa, never had his full qualification, so there are little stories that inspire me, but the general thinking is quite rigid – this particular entry is a bit frowned upon from what I’ve experienced,” said Taylor.
Having learned most of her design skills from experimenting with digital design and collaborating with other designers, Taylor describes herself as “self-studious” and encourages other designers to create work that they feel best represents themselves.
“Strive to build a portfolio that excites you and represents you the most,” Taylor said.
“Through building a portfolio and working with 3D designers and architects was how I learnt – it’s very research-heavy.”
Taylor’s Design Dreams book features 3D designs of buildings and interiors created by herself and other artists.
The curation includes fantasy-like environments as well as renderings of interiors that appear like real, tangible spaces.
“[The book] became a space in which to share my personal projects, the artists I work with and work I admire around the field of interiors and architecture,” said Taylor.
Although most of the images are already widely shared online, by collating them all into one volume Taylor hopes readers will enjoy getting lost in the printed format.
“The same way that the Instagram page acts where people go to get lost in the images, to have that in a physical format means you are able to spend more time in detail than you can on a phone screen,” she said.
“To take something digital that doesn’t exist in the physical world and bring it to print was quite important for me, to see it in that way,” the designer added.
Although they work in the digital sphere, Taylor maintains that 3D-visual creators play a part in interior design trends.
“The arts trends that happen in 3D gradually make their way into interior spaces, and it’s really interesting to see the Pinterest effect,” she said.
“People love to collect images and make their ideal moodboard with them, and these spaces really play into that. People are constructing their own ideas and making architecture and interiors more accessible rather than something very professional.”
In her own interior visual designs, Taylor includes elements from her actual home to make the spaces feel more relatable than traditional architecture renderings.
“It’s down to the construction of the images, they have this sort of lightning and familiarity, and we always put little props that will often be things from my home,” she said.
“These little details make it lived-in and more relatable versus traditional architectural visualisation, which can be very sterile and not aesthetically relatable.”
Taylor has also previously worked on various NFT projects, including a video artwork informed by an OMA-design sculpture and NFT capsules that contain digital images of fantasy architecture projects.
The images are by Charlotte Taylor unless stated.
Dezeen In Depth
If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.
Judging for the 11th A+Awards is now underway! While awaiting the Winners, prepare for the upcoming Architizer Vision Awards, honoring the best architectural photography, film, visualizations, drawings, models and the talented creators behind them. Learn more and register >
A building’s façade is like the skin that does not only allow the building to breathe but also allows it to see and converse with its context and users, responding to many social, environmental and historical factors, such as climate, building identity, program, interior-exterior relationships and user experience, among other considerations. Through this collection, the innovative façade designs of a number of higher education buildings are shown, with more responsibility falling on the façades of this building typology for the way they are expected to show and not only teach students about architectural design and the values of the educational organizations they represent.
Architecture Faculty in Tournai
By Aires Mateus, Tournai, Belgium
Photo by Tim Van de Velde Photography
Photo by Tim Van de Velde Photography
The new Architecture Faculty in Tournai building has its form shaped by the surrounding historical city block, both used and getting used by the adjoining buildings that manage to coexist, despite the difference in their identities and time periods. Designed to connect the existing structures together through a set of vertical and horizontal circulation elements while housing different interior spaces for architectural education, the building evokes the architectural heritage of the city through its use of iconography.
The completely solid main elevation, constructed out of concrete and steel and covered with sanded plaster and grey paint, diverts the attention to the neighboring buildings and allows the new building to comfortably fit into the context, boldly subtracted with a distinctively house shaped three dimensional volume that accentuates the entrance and welcomes users.
Photo by Roberto Ortiz Giacoman and Jorge Taboada
Photo by Roberto Ortiz Giacoman and Jorge Taboada
The façade of this majestic concrete building is three-dimensional, changing directions between the vertical and horizontal planes and artfully mastering the relationship between the building’s interior and exterior while blurring the lines between both, framing the ‘Sierra Madre’ mountain range and opening up the building to the sky and the surrounding landscapes.
The three-dimensional volume that is called “The Shell” almost looks like a solid shape from a distance, especially for the way it spans a distance as long as 80 meters and the way its concrete panels seamlessly align across the building’s several sides and faces. The design of “The Shell” would have not been possible without its innovate structural design, utilizing a principle called composite action where concrete works alongside the structural steel to carry the weight of the building and its materials.
Masdar Institute
By Foster + Partners, Abu Dhabi, United Arab Emirates
The façade design of the residential buildings at the Masdar Institute offers a modern interpretation of Al Mashrabiya, which is a traditional Islamic architecture element where turned wood is used to produce latticed patterns adorning oriel windows facing that face the streets, for shading and privacy. For materials, the façades are constructed out of sustainably developed glass-reinforced concrete and colored with local desert sand to integrate the building with the context, with the buildings being completely powered by solar energy. Through an alternation of the façade elements between recession and protrusion and proper building orientation, the building is not only self-shading but is also sheltering of the neighboring buildings and the pedestrians at street level.
Scottsdale Community College Business School And Indigenous Cultural Center
By Architekton,Scottsdale, AZ, United States
Built on the land of the Salt River Pima Maricopa Indian Community (SRP-MIC) in Arizona, the building rose from the ground holding traces of the native saguaro cactus, in a notion that celebrates the indigenous community’s connection to their land. Technically speaking, the façade design utilized imbedding saguaro ribs into concrete tilt panels, organized into the formwork during construction and protected against concrete by pouring sand into the ribs.
After the panels were cast, the architectural team and the contractor determined the final appearance of the building by deciding which saguaro to burn, remove or conceal. The design of the façade allowed the building, which also houses the Business School, to visually converse and connect with the context and the adjacent east Red Mountain, while also teaching visitors about the native history of the community who views the saguaro as a symbol of life.
Faculty of Architecture and Environmental Design
By Patrick Schweitzer et Associés Architectes, Kigali, Rwanda
For design of the new Faculty of Architecture and Environmental Design in Kigali, the architectural team drew inspiration from the surrounding landscape and topography, reflected on the thirteen distinctively shaped prism volumes that house the classrooms and design studios. The façade design further emphasized the distinctiveness of the prism shapes, alternating in materials between the local lava rocks and rammed earth on the exterior side of the prisms and a striking orange color on the interior sides.
The use of the former represents Earth and the later represents Fire, as part of the four natural elements that guided the design conception, alongside Water represented in the inner gardens and Air in the building’s circulation. The design of the openings on the building’s exterior aimed to maximize the use of natural sunlight to reduce running costs and create more pleasant interiors, with the project serving as a pedagogic tool that shows and not only tells students how to design.
Coil School for the Arts, Riverside Community College
By LPA, Riverside, CA, United States
The music that plays inside the new Coil School for the Arts could be seen reflected on the façade design of the main elevation, constructed out of phenolic wood panels that evoke the craftsmanship of wooden music instruments, with a pattern that is inspired by the sheet music notations. In response to the desert climate of the area and the building program’s acoustical requirements, heavy concrete grouted masonry was used as the main construction material of the LEED Silver certified building, with openings kept minimum on the building’s exterior and the building mass pushed back at street level to create a sheltered outdoor lobby where visitors can gather. On the southeast façade, an intimate courtyard is designed for students for gatherings and informal concerts, shaded with a trellised structure that filters out the noise from the street and the harshness of the sun.
Judging for the 11th A+Awards is now underway! While awaiting the Winners, prepare for the upcoming Architizer Vision Awards, honoring the best architectural photography, film, visualizations, drawings, models and the talented creators behind them. Learn more and register >
There is no shortage of research demonstrating how vital education is for a wide variety of social and economic outcomes. For example, one additional school year can increase a woman’s earnings by 10 to 20 per cent, and each year of education reduces the risk of conflict by 20 per cent.
Before the COVID-19 pandemic, the percentage of young people completing upper secondary school increased from 54 per cent in 2015 to 58 per cent in 2020. While these figures demonstrate progress, this rate of improvement actually represents a slowdown from the preceding five-year period. And even before the pandemic, projections showed that only 60 per cent of young people would be completing upper secondary education in 2030, indicating a pronounced deceleration in educational progress.
If progress was slowing even before COVID-19 swept the globe, early indications suggest that the pandemic has had a significant detrimental effect on educational outcomes. Figures from UNICEF show that school closures have resulted in 2 trillion hours of lost in-person learning globally. And the impact is likely to be felt the most in low-income countries, with the United Nations expecting a spike in school drop-outs in the coming years.
Against this backdrop, efforts to improve access to education for all age groups are more important than ever, and innovation can play an important role.
Access to schooling
Access to schooling is an obvious place to start a discussion of innovation and education. But the years before a child reaches school age are particularly important for their development. Despite this, only one in five children are enrolled in pre-primary education in low-income countries. In Uzbekistan, educational authorities are using converted buses to bring pre-school classes to the most remote communities.
Participation rates improve once a child reaches primary school age, even in low-income countries. Nonetheless, access to schools can be challenging in many regions, with children required to walk for hours to attend lessons. A non-profit in Madagascar is addressing this issue with 3D-printed schools that can be located closer to homes.
University-level education is the most exclusive of all, with affordability acting as a key barrier to access. For example, in some Southeast Asian countries, the average cost of a university education is nearly double GDP per capita. A Singapore-based startup aims to provide students with affordable financing options by partnering directly with universities to offer subsidised installment plans.
Diversity and inclusion
Education is not only about ensuring children attend class, it’s also about creating an environment where students from all backgrounds can thrive. School can be particularly challenging for migrant children who face cultural as well as language barriers. For example, unaccompanied asylum-seeking children are over three years behind non-migrant pupils on average. One Danish startup has developed a language-learning app that helps migrant children navigate differences between their own culture and the culture of their new home.
Learning differences
Inclusion is also of critical importance for students with learning differences. According to UNICEF, only 36 per cent of adolescents with disabilities complete lower secondary education. In response, innovators are developing tools that are tailored to the needs of non-traditional learners. One personalised learning platform offers tailored programmes, and connects students with educators who can provide individualised support. Meanwhile, another startup has developed a voice-based learning app that is specifically designed for those with reading and writing difficulties.
Adult learning
Education isn’t only about children. Target 4.4 within SDG 4, focuses on the importance of technical and vocational skills for youth and adults. On-the-job training is one focus for innovators. For example, a Paris-based startup has leveraged artificial intelligence to develop a human-first employee learning platform.
Adult learning is particularly important for those who find themselves displaced as a result of wars and natural disasters. One language-learning platform is connecting refugees and those from other marginalised groups with employers in the digital economy. The goal is to help disadvantaged candidates break into a sector they might have previously considered out of reach.
Words: Matthew Hempstead
Know more innovations supporting SDG 4? Spread the word!
Sign up to the Sustainable Source newsletter to receive regular updates on the green innovations that matter and to get our insights into innovation and the SDGs direct to your inbox.