In his article Strong Forms – Architectural Values of a Decade, the architect and writer Juan Antonio Cortés defines and illustrates the architectural concepts of our century. Indeed, the last decade has been characterized with codes and values that the great architects of today apply in most of their buildings.

A mix between construction techniques and aesthetics manipulations, Cortés listed seven duos of principles that rule 21st century Architecture. Through subtle case studies and various references to known design strategies and brilliant architects, he encourages the reader to notice the depth and layers of the architecture around us.

I chose to reflect and explain the ROUTE + SPACE value and specifically its application to the TEA (Tenerife Espacio de las Artes) by Herzog & De Meuron. We will see which details and methods are used to create this route and how it interacts with the spatial experience of the building. Then, we will explain how this impressing building applies to other concepts as Light + Transparency. Finally, we will analyze another way to portray the ROUTE + SPACE concept.

Courtyard Design 

“The new Cultural Center is not only a place of encounter for people but also a place of intersection for the landscape of the contemporary city, the old city with its skyline along the barranco and the archaic topography of the barranco itself.” (7)

Architects Herzog & De Meuron had the idea of combining a series of diagonal elements and sloping floors with a ramp allowing people to access the building. Thanks to this, the cultural center is a place of encounter for people as its accessible from all sides. Their main idea behind the TEA internal design was to integrate several courtyards in order to connect typologically the multi-purpose center to its existing neighbor building, the Museo de la Naturaleza y el Hombre (Museum of Nature and Mankind).

However, “the roof’s flowing development gives it a somewhat integrated condition”(8). The multi-level structure is gathered under a continuous roof structure and this is why “the elongated courtyards do not appear like embraced exterior spaces but rather like interior spaces that are being left open” (9).
The spatial interaction between inside and outside is the perfect example of the ROUTE + SPACE combination: the landscape of the contemporary city intersects and blends with the old city of Barranco de Santos and its antique topography.
The building is characterized by a dialogue with the void, defined by an external stone wrapping. Here, we notice, the continuous material, the path and “internal crossroads”.

7, 9 Herzog & De Meuron interview about the TEA
8 Cortés, J.A. (2011). Strong Forms. Architectural Values of a Decade, El Croquis, Special Issue: The Very Best Works at the turn of the Century

The Triangular Plaza 

By nature, all paths are linear. However, a path can also be segmented, curvilinear, intersect or branch to other paths. The TEA building is indeed a long volume “served by a public route running across the site over an artificial terrain of man-made lava flowing out over a meandering ramp” (10). This public path diagonally cuts through the building complex connecting the top of the General Serrador Bridge with the shore of the Barranco de Santos.  

“On its way down to the Barranco this path is widening and transforming itself into a triangular, semi-covered space in the heart of the cultural center.” (11)
This unusual public plaza literally cuts through the large reading room of the library and is a shared central point. Large glass screens open on views inside and outside the open space of the library.

“This triangular plaza is cleverly designed. Although it is open at its three vertices, the dominating effect is a confined space with visual and itinerary perspectives.”(12) 
As an other criteria of the Promenade Architecturale inside the TEA, the main quality of the plaza is to lead people into the building complex and to provide a good orientation for all visitors. Therefore, it guides the people into a pedestrian experience through the building and influences the use of the spaces on the side of the ramp and around the plaza.

10 Gregory, R. (2009). Plate tectonics: library, gallery and museum, Tenerife. Architectural Review, 225(1344)
11, 12 Cortés, J.A. (2011). Strong Forms. Architectural Values of a Decade, El Croquis, Special Issue: The Very Best Works at the turn of the Century

The Staircase

“The operation uses the itinerary elements and the full-empty combination to create spatial and usage relations within the complex”. (13)

The lobby is conceived as a spatial continuation of the plaza. There, we find a large spiraling staircase connecting the upper and lower museum levels. The upper level has skylight galleries in various adapting to the requirements of the Oscar Dominguez Collection; the lower level displays a large surface that can be subdivided to match the needs of temporary exhibitions of international stature. Ceiling heights on both levels are close to six meters.

This spiral staircase is used as an itinerary element to link different heights in a fluid and continuous way. The form of the space, it’s scale, and how the boundaries are defined all influence circulation patterns. Here it is also a magistral art piece in the middle of the exhibition spaces and “its powerful geometry penetrates the material and immaterial components” (14). Therefore, the space is organized by the staircase that becomes a major element compared to the other areas; it’s a served space.

13, 14 Cortés, J.A. (2011). Strong Forms. Architectural Values of a Decade, El Croquis, Special Issue: The Very Best Works at the turn of the Century

Spatial Continuation 

“This urban diagonal explores its dynamicdimension and generates an oblique geometry that resonates spatially, creatinga three-dimensional urban landscape.” [1]

The diagonal pathway is activating a spatialcontinuation effect. Paths inherently relate to the spaces they link to, so it creates an axis which is the main circulation route of the building.

All in all, it becomes a three-dimensional urban landscape as the variations of heights and different point of views from the ramp offer an immersive atmosphere.

“The elongated courtyards are important in many ways, providing daylight, views and orientation for the visitors and users of the museum spaces and the library.” [2]

It is precisely in the library where this is most intensely felt: the spatial richness and urban scale create one of the most interesting spaces in the complex. The lighting enhances even more the interior features. There are two types of complementary lighting: one that filters through openings in the undulating roof and one that enters through perforations in the concrete walls. The materials contrast highlights the visual itinerary perspective. The geometric architectural elements favour exposure to the world outside, bringing dynamism and brightness.

[1] Casciani, S. (2009). The island of the concrete void. Domus, 922,77-89
[2] Herzog& De Meuron interview about the TEA

TEA : Light & Transparency 

Definition
Just like Route +Space, Light+ Transparency is another fundamental of modern architecture.

“The most important reason why we use glass is to clarify our idea (of the organization)”.[1]
The play between light, transparency, and reflection is a key to a building expressiveness as well as its organization. The placement of the openings and their orientation allow to change the perceptionof certain spaces and rooms. We perceive the relations between different spaces with the partitions so a variation in the opacity of a wall or a pillar can totally change the use and circulation.

“Both the daytime and the night-time experiences are important.” [2]
Besides, the natural light obviously decreases from daytime to night time which creates contrasting experiences of the building. The transparency of a staircase or a huge ceiling lighting element can also participate in the continuation from a level to another.

Between clarifying the idea of organization or for a purely aesthetic goal, the flow between light, architecture, art and landscape is essential.

Use of Light + Transparency 
The building’s exteriors are finished in darkgrey colored concrete, pierced by 1 200 small pixel-like glass-filled openings, in 720 random patterns. “The distinctive pixelated concrete wall has elongated pixels, providing deep internal reveals” [3]: it filters the natural light to the interior while generating an amazing view during the night. This is a truly singular type of lighting designed to enable a unique distribution of natural light and a radiation of artificial light from the inside in the dark.

“On their way across the plaza visitors will stumble on the light filled spaces of the Biblioteca Insular.” [4]

A very important use of Light +Transparency in the TEA is the definition of the central pathway. As we can see here in these pictures, the huge glass panels going all around the triangular plaza and on the sides of all the ramps involves a visual itinerary perspective. The plunging view on the library is a unique point of view in the building and enhances the idea of transparency as a mean of expression.

The Promenade Architecturale is therefore unified by the use of glazing despite the height variation.  We kind of feel like in an aquarium observing all the surrounding spaces from a main corridor.

[1], 19 Cortés, J.A. (2011). Strong Forms.Architectural Values of a Decade, El Croquis, SpecialIssue: The Very Best Works at the turn of the Century
[3] Gregory, R. (2009). Plate tectonics: library, gallery and museum,Tenerife. Architectural Review, 225(1344)    
[4] Herzog & De Meuron interview about the TEA

The Rolex Learning Center was designed by internationally renowned Japanese architecture firm SANAA in 2010. Located in EPFL Campus, Lausanne, it’s open to both students and the public, it is designed to be a learning laboratory, a library and an international cultural hub providing a seamless array of services, libraries, information centers, discussion areas, study areas, restaurants, cafes and beautiful outdoor spaces.

The building is a single, “clear uninterrupted terrain” 22 of 20 000 m². SANAA designed “a space between the upper surface of the floor slab and the underside of the roof slab, like the modernist space. “ (23) This innovative architecture comprises gentle slopes and terraces that undulate around a series of internal patios, as well as nearly invisible supports for its complex, curved roof, which entailed entirely new construction methods.

In this center, the building itself is the Route; the continuous slabs and volumes are curving, the height is increasing in some points, the openings vary but the visitor is guided by the enclosure of the unique surface.(24) SANAA invented a new relaxed and informal attitude to occupation and circulation. Opposing proportion and symmetry, the” Domino-based free plan structure” (25) is guided by this new spatial order of a uniform and unique rolling level floating above the ground. We can compare the experience to meandering through spaces which is unusual. This aspect is reinforced by the several ramps and elevators.

The patios bring daylight to all areas of the building, “minimize visual barriers and also barriers to movement and maximize transparency and openness” (26). The larger ones serve as entrances where their sloping forms touch the ground. To access them, visitors walk past the glass facades and go beneath one of the building’s peaks.

“As intended, the strongest sensation that persists is the mesmerising effect of constantly shifting views, animated as horizons rise and fall in resonance with the mountainous landscape beyond. “ (27) 
The almost organic shape perfectly fits into the natural environment of the nearby Alps, Lake Geneva and Mont Blanc, visible from inside. It becomes a flowing landscape, a Promenade Architecturale not blocked by walls, allowing views across its interior and through the patios.

22, 26, 27 Gregory, R. (2010). SANAA creates a blank canvas for Swiss university Learning Centre. Architectural Review, 227 (1358), 22-23
23, 25 Cortés, J.A. (2011). Strong Forms. Architectural Values of a Decade, El Croquis, Special Issue: The Very Best Works at the turn of the Century
24 Figure 2 (p.13) - Longitudinal sections through the building

To conclude, Route + Space as a new value in the architecture of the 21st century is shown in a large range of famous buildings. Prioritizing the circulation and the experience through the spaces, the idea is to organize the different parts around a main pedestrian pathway. Either with visual strategies or construction methods, the design emancipates a route that transports people in a unique journey.

Another value as Light + Transparency consists in the play between natural and artificial light, opaque or see-through elements and reflection in order to define spaces and once more participate in the sensorial visit of a building.
The applications of these concepts can be combined to produce unique modern architectural pieces marked by functionality and strong expressiveness.

“Building a city actually means building a place for people to inhabit in the future”
Jacques Herzog