Rafiq Azam builds a family tomb in Noakhali, in southern Bangladesh. The architect views the tomb as a gateway between earth and heaven, reflected in the shape of the concrete cornice framing a stand of betel palms, the vertical lines of which contrast with the horizontal line of the roof. The project includes a single bench on which to sit in prayer before the grassy meadow where the dead are buried.
By recovering a 1940 bunker in Diefdijk in the Netherlands, Rietveld Landscape and Atelier de Lyon have created a site of interest to tourists by transforming a historic work of architecture into a monument. They completely removed a part of the cement structure of the bunker to produce an accessible path from the land to beyond the water line in the midst of the artificial landscape before it.
Designed on the occasion of Stavanger’s candidacy as European cultural capital in 2008, the “Lantern” is a monument to urban social life, using structural wood and a glass roof to blend into the city by day and light up to attract its attention at night.
In Bruges, a city full of lace, gothic battles and historic buildings, Toyo Ito has created a pavilion destined to elicit a confrontation between past and present, between the languages of memory and those of modernity.
Exactly three years after the terrorist attack that caused 191 tragic deaths at Atocha station, Madrid has inaugurated a memorial designed by Studio FAM (Fascinante Aroma a Manzana; the name means Fascinating Smell of Apple).
It was designed 20 years ago, but it is a highly innovative form of architecture whose formal solutions and use of technology reveal all the contemporaneity of 21st century architecture: the Wind Tower is one of Toyo Ito's best-known projects. It earned him the 1987 Edwin Guth Memorial Award of Excellence from America's Illumination Engineering Society, a prestigious acknowledgement of the strong symbolic value of this work in its urban context.
A monument built in 9 B.C. to celebrate the Romans' accomplishments in Gaul and Spain is wrapped in 21st century technology. The pavilion protecting the Ara Pacis is made up of 500 square metres of special glass to protect the monument from atmospheric agents and pollution.
Two big pools, or two big empty spaces, dug into the ground to mark an indelible wound, and a sense of loss, of absence: this is how New York has "marked" the city itself, in the physical sense, to remember the events of September 11.
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