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Mit einem Minimum an Baustoffen ein Maximum an Funktionalität und Raumqualität zu schaffen war das Ziel des am Frankfurter Forschungsinstitut für Architektur, Bauingenieurwesen und Geomatik der Frankfurt University of Applied Sciences (Frankfurt UAS) angesiedelten Projektes „ge3TEX“. weiterlesen →         

	Foto: Petter Krag

Der DAM Preis geht 2022 an ein erfindungsreiches Wohnprojekt junger Architekten und Architektinnen in der Messestadt München-Riem: Das San Riemo ist ein genossenschaftliches Wohnhaus mit 27 Wohnungen, das die ARGE SUMMACUMFEMMER BÜRO JULIANE GREB mit maximal flexiblen Grundrissen für unterschiedliche und sich verändernde Lebensformen entworfen hat. Das Projekt steht somit im Zeichen einer neuen Generation, das sich nicht mehr an den herkömmlichen Standards wie Wohnzimmer, Schlafzimmer und Kinderzimmer ausrichtet, sondern versucht, soweit dies technischen Standards folgend baurechtlich überhaupt erlaubt ist, neue Formen des Wohnens zu ermöglichen.

Das in der relativ jungen Münchner Messestadt Riem gelegene "San Riemo" ist höchst innovativ. Die Baugenossenschaft "Kooperative Großstadt" hatte für ihr erstes Wohnungsbauprojekt einen eigenen Wettbewerb veranstaltet, zu dem es 62 (!) Einreichungen gab. Aus Kostengründen fiel die Realisierungsentscheidung zugunsten des ursprünglich zweitplatzierten Entwurfs der ARGE SUMMACUMFEMMER BÜRO JULIANE GREB (Anne Femmer, Florian Summa, Juliane Greb, Petter Krag).

Ästhetisch überrascht das Gebäude durch eine Straßenfront mit schlanken Wintergärten hinter gewellten Polycarbonattafeln. Vor allem aber sind in dem Haus durch eine matrixartige Raumstruktur unterschiedliche Grundrisse für verschiedene Lebensweisen einschließlich gemeinschaftlicher Flächen möglich. Die DAM-Jury ist überzeugt: Dieses klug durchdachte und schon jetzt von den Bewohnern vollen Herzens angenommene Haus setzt Maßstäbe in der drängenden Frage nach der Zukunft des Wohnens – und entschied den DAM Preis 2022 dem "San Riemo" zu geben.

Neue Wohnformen sind gefragt, gelten aber meist als schwer durchsetzbar. Wenn München hier eine Vorreiterrolle zukommt, ist das zunächst verwunderlich. Ist es doch die Stadt mit den höchsten Mieten und höchsten Immobilienpreisen. Dennoch muss sich die Stadt weltoffen halten, so sind neue Wohn- und Existenzformen durchaus eine gesuchte Ware. Das gilt nicht nur für Künstler oder Studenten, sondern auch für Familien mit erweitertem Platzbedarf. Baurechtlich sieht die Sachlage oftmals nicht mehr so einfach aus, wenn plötzlich Wände zwischen den Räumen entfernt werden, um Durchgang zu schaffen, der vorher nicht vorhanden war.

Denn bauliche Veränderungen von Gemeinschaftseigentum bedürfen grundsätzlich der Zustimmung aller Wohnungseigentümer. Die wichtigste Frage für die Zusammenlegung zweier Wohnungen ist, inwieweit es sich hier eindeutig um Sondereigentum handelt. Gehören Wohnungen beispielsweise demselben Eigentümer und ist dies im Grundbuch in der Teilungserklärung auch so festgehalten, kann dieser Eigentümer innerhalb seines Sondereigentums bauliche Veränderungen durchaus vornehmen. Wie sich die baurechtlich einschlägigen Fragestellungen konzeptionell auf die Architekten der Arge ausgewirkt haben, blieb während der Entwurfsphase zu einem solch umfänglichen Wohnungsbauprojekt wie in München-Riem nicht ganz unumstritten. Zuvorderst ging es den Architekten wohl auch darum, günstigen Mietraum zu schaffen. Jetzt warten die Preisgewinner allerdings auf Nachfolgeprojekte, die unter der Prämisse: Innovatives Wohnen durchsetzbar wären und bald folgen dürften.

Andererseits gibt es viele Gebäude mit durchaus ansprechenden Wohnungen im Loft, das heißt, nicht mehr benötigter Gewerberaum wird in Wohnraum umgewandelt, was teilweise mit baulichen Veränderungen einher geht, wodurch bisweilen besondere und einmalige Wohnmöglichkeiten entstehen. Im Loft zu wohnen hat seine Reize, wobei diese meist außerhalb oder am Stadtrand in den Gewerbegebieten zu finden sind. Gewerbegebiete wiederum sind baurechtlich getrennt von Wohnungsbaugebieten zu betrachten. Nicht selten finden sich Mischbereiche, bei denen Wohnungs- und Gewerbebau im ausgewogenen Rahmen nebeneinander und in Koexistenz existieren.

Im Frühjahr 1992 wurde der zu eng gewordene Flughafen München-Riem geschlossen. Zurück blieb das leere Flugfeld, das von weitsichtigen Politikern sowie Planerinnen und Planern als große Chance für neues, zeitgemäßes Wohnen, Arbeiten und Leben mit Freizeitangeboten in einem ökologisch geplanten Stadtteil begriffen wurde. Das Gebiet wurde zunächst noch als zu weitläufig empfunden, um ein gemeinsames Quartiersgefühl zu schaffen. Den Wandel in der Wahrnehmung und Attraktivität brachten Baugruppen und Genossenschaften, die insgesamt mehr als 500 Wohnungen realisiert haben.

Das San Riemo bringt zur Heinrich-Böll-Straße mit seiner gläsernen Fassade aus beweglichen Fenstertüren und einer vorgelagerten Schicht aus gewellten Polycarbonatplatten in die Nachbarschaft mit den sehr streng gestalteten Häusern eine heitere Note. Türkisfarbene Deckenplatten, Vorhänge und Rahmungen der großformatigen Fenster im Erdgeschoss unterstreichen diesen Eindruck. Das Wellenmotiv setzt sich an den anderen Fassaden mit weißen Wellblech-Verkleidungen fort. An der kurzen Südfassade mit auffälligen dreieckigen Fenstereinschnitten liegt der Haupteingang. Zum Hof öffnet sich das Erdgeschoss mit ungewöhnlich niedrig eingesetzten Fenstern, die Kinder als Ein- und Ausstieg nutzen können.Im Erdgeschoss befindet sich eine Gewerbefläche. Dahinter, vom Haupteingang erschlossen, ist der gemeinschaftlich genutzte Teil des Erdgeschosses. Von den Bewohnern "Lobby" getauft, ähnelt der Bereich einer überdachten Spielstraße. Sie bietet mit einer Gemeinschaftsküche und einer Werkstatt

Impulse für gemeinschaftliches Tun im alltäglichen Zusammenleben. Waschmaschinen und Abstellflächen in einer Hochregalwand verschwinden hinter sonnengelben Vorhängen. Das Pendant zur Foyerhalle ist obenauf der Dachgarten mit Hochbeeten und Sommerküche.

Das einfache konstruktive System bietet eine hohe Flexibilität für interessante Grundrisse. Für die Wohnungen wurden drei Typen definiert: das sogenannte Basis-, das Filial- und das Nukleuswohnen. Ersteres entspricht am ehesten einer konventionellen Wohnung. Beim Filialwohnen sind die privaten Räume etwas kleiner; die gewonnene Fläche wird gemeinschaftlich genutzt. Das Nukleuswohnen ist die experimentellste Wohnform im Haus: Mehrere Wohnungen geben Flächen in einen "Pool", dessen Nutzung neu und wechselnd definiert werden kann. Jede Partei behält aber auch einen individuell bewohnten Nukleus. So entsteht bewegliche Fläche, die untereinander je nach Bedarf dazu genommen oder abgegeben werden kann.

Entlang der West- und Ostfassade befinden sich nutzungsneutrale, gleich große Räume. In der Achse dazwischen sind die beiden Erschließungskerne, die Sanitärzellen und gemeinschaftliche Ess-Kochbereiche platziert. So entstehen durchgesteckte Familien- oder Gemeinschaftswohnungen. Durch das Zusammenschalten mehrerer neutraler Raumzellen an den Seiten können weitere größere, gemeinschaftlich genutzte Bereiche entstehen. Die schmalen Wintergartengalerien im Westen werden sehr vielseitig genutzt. Insgesamt bestimmen Sichtbeton und graue Estrichböden die Grundausstattung.Die beiden Treppenhäuser sind in kräftigem Lila und sattem Himmelblau gestrichen. San Riemo hat Mut zu neuen Wohnformen bewiesen und mit Leben gefüllt. Die Jury des DAM Preis 2022 ist davon überzeugt und begeistert.

Siehe auch:  Anne Lacaton und Jean-Philippe Vassal erhalten den Pritzker-Architekturpreis 2021

Siehe auch:  Münchner Wohnbauprojekt Van B von UNStudio

Siehe auch:  DAM Preis 2022 geht an Wohnbauprojekt in München-Riem

Elemente einer baukulturellen Allgemeinbildung
Hrsg.: Archijeunes – Baukulturelle Bildung für Kinder und Jugendliche
Park Books, Zürich
1. Auflage, 2021

Gestaltung: Samuel Bänziger mit Rosario Florio und Larissa Kasper
Broschiert, 412 Seiten, 185 farbige und 83 s/w Abbildungen
Format: 16 x 22 cm
ISBN: 978-3-03860-226-2 

Civic architect, urban planner and activist, Sir David Alan Chipperfield CH has been selected as the 2023 Laureate of The Pritzker Architecture Prize, the award that is regarded internationally as architecture’s highest honor.

Subtle yet powerful, subdued yet elegant, he is a prolific architect who is radical in his restraint, demonstrating his reverence for history and culture while honoring the preexisting built and natural environments, as he reimagines functionality and accessibility of new buildings, renovations and restorations through timeless modern design that confronts climate urgencies, transforms social relationships and reinvigorates cities.

“I am so overwhelmed to receive this extraordinary honour and to be associated with the previous recipients who have all given so much inspiration to the profession,” remarks Chipperfield. “I take this award as an encouragement to continue to direct my attention not only to the substance of architecture and its meaning but also to the contribution that we can make as architects to address the existential challenges of climate change and societal inequality. We know that, as architects, we can have a more prominent and engaged role in creating not only a more beautiful world but a fairer and more sustainable one too. We must rise to this challenge and help inspire the next generation to embrace this responsibility with vision and courage."

His built works, spanning over four decades, are expansive in typology and geography, including over one hundred works ranging from civic, cultural and academic buildings to residences and urban masterplanning throughout Asia, Europe and North America.

The 2023 Jury Citation of the Laureate, states, in part, “This commitment to an architecture of understated but transformative civic presence and the definition—even through private commissions—of the public realm, is done always with austerity, avoiding unnecessary moves and steering clear of trends and fashions, all of which is a most relevant message to our contemporary society. Such a capacity to distill and perform meditated design operations is a dimension of sustainability that has not been obvious in recent years: sustainability as pertinence, not only eliminates the superfluous but is also the first step to creating structures able to last, physically and culturally.”

Chipperfield calculates the environmental and historical impacts of permanence, embracing the preexisting, designing and intervening in dialogue with time and place to adopt and refresh the architectural language of each locale. James-Simon-Galerie (Berlin, Germany, 2018) situated on a narrow island along the Kupfergraben canal and accessible by the Schlossbrücke bridge, serves as the gateway to Museum Island. Commanding, though discreet, colonnades with grand scale enclose a terrace, a wide expansive staircase and a manifold of open spaces allow abundant light into the large entryway of the building. The design enables generous views from within and beyond, even through to adjacent buildings and the surrounding urban landscape.

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“He is assured without hubris, consistently avoiding trendiness to confront and sustain the connections between tradition and innovation, serving history and humanity,” comments Tom Pritzker, Chairman of the Hyatt Foundation, which sponsors the award. “While his works are elegantly masterful, he measures the achievements of his designs by social and environmental welfare to enhance the quality of life for all of civilization.” In renovative works, his precision is imbued with historical acumen, informing his vision to invariably redeem original design and structure rather than supplant it wholly with modern architecture. The Laureate reflects, “As an architect, I’m in a way the guardian of meaning, memory, and heritage. Cities are historical records, and architecture after a certain moment is a historical record. Cities are dynamic, so they don’t just sit there, they evolve. And in that evolution, we take buildings away and we replace them with others. We choose ourselves, and the concept of only protecting the best is not enough. It’s also a matter of protecting character and qualities that reflect the richness of the evolution of a city.”

 

The Neues Museum (Berlin, Germany, 2009), originally constructed in the mid-19th century and left devastated and inhabitable during World War II, demonstrates Chipperfield’s discernment between preservation, reconstruction and addition. The novel is in conversation with the old, as architecture of the past is brought to the foreground, yielding moments of modernity such as a striking new main stairwell flanked by walls revealing traces of original frescoes and repurposed materials, even those that were marred by wartime blemishes. Generous outdoor space makes it a connector for all, even for those who never enter the galleries.

 

Alejandro Aravena, Jury Chair and 2016 Pritzker Prize Laureate, elaborates, “In a world where many architects view a commission as an opportunity to add to their own portfolio, he responds to each project with specific tools that he has selected with preciseness and great care. Sometimes it requires a gesture that is strong and monumental, while other times, it requires him to almost disappear. But his buildings will always stand the test of time because the ultimate goal of his operation is to serve the greater good. The avoidance of what’s fashionable has allowed him to remain permanent.”

His restoration and reinvention of the Procuratie Vecchie (Venice, Italy, 2022), which dates back to the 16th century, redefined the civic ability of this building within the heart of the city to allow general access for the first time. He elevates partnership through his processes, upholding his belief that architecture and craft are intertwined. He called upon traditional craftsmen to revive original frescoes, terrazzo and pastellone flooring and plasterworks, uncovering layers of history, while incorporating local artisan and building techniques to produce modern correlative interventions such as a vertical circulation. The restored building now enables views from above and within, revealing rooftop terraces, exhibition and event spaces, an auditorium and an enfilade of arches that diverge into galleries.

 

Every work becomes a civic undertaking serving society, such as the America’s Cup Building ‘Veles e Vents’ (Valencia, Spain, 2006), intended primarily as a temporary hospitality venue for offshore teams and sponsors. Exterior space exceeds interior and the cantilevered viewing decks are miradors, generous in size, some spanning 15 meters in width around the perimeter of each overlapping level. Chipperfield infuses a program for the public, through first-floor retail spaces and an accessible deck that offers unrestricted views of the canal and city below. A ramp from this level creates a direct pathway to a park just north of the site. His restoration and addition of Morland Mixité Capitale (Paris, France, 2022) revitalizes the neighborhood with affordable and luxury housing, retail and restaurant venues, a hotel and youth hostel, an installation space and an urban rooftop garden. By raising the new volumes on vaulted load-bearing arcades which continue along at the base of the original building, the architect creates a space to gather, inviting those to pass by or pass through the new visual and physical passageway to the Seine River from the Boulevard Morland.

 

Whether through public or private buildings, he bestows unto society the opportunity for coexistence and communion, protecting individuality while fostering a societal sense of belonging. The headquarters for Amorepacific (Seoul, Republic of Korea, 2017) harmonize the individual and the collective, the private and the public, work and respite. Vertical aluminum fins across the glass façade provide solar shading to aid thermal conditions and natural ventilation, and create a translucency, encouraging a rapport between the building’s occupants, its neighbors and observers. Office space is equipoised by a public atrium, museum, library, auditorium and restaurants. A central courtyard allows views through to nearby buildings and hanging gardens further engage the community inside with the elements outside. At the Inagawa Cemetery Chapel and Visitor Center (Hyogo, Japan, 2017), situated in the Hokusetsu Mountains, the physical and spiritual coexist, with places of solitude and gathering, for peace and seeking. These interconnected expressions are mirrored in the earth-toned monolithic buildings, stairs and pathways residing amidst the sloped terrain, and the secluded non-denominational chapel and visitor center that are juxtaposed diagonal from one another.

 

“We do not see an instantly recognizable David Chipperfield building in different cities, but different David Chipperfield buildings designed specifically for each circumstance. Each asserts its presence even as his buildings create new connections with the neighbourhood,” continues the 2023 Citation. “His architectural language balances consistency with the fundamental design principles and flexibility towards the local cultures…The work of David Chipperfield unifies European classicism, the complex nature of Britain, and even the delicateness of Japan. It is the fruition of cultural diversity.”

Significant works also include the River and Rowing Museum (Henley-on-Thames, United Kingdom, 1997), BBC Scotland headquarters (Glasgow, United Kingdom, 2007), Turner Contemporary (Margate, United Kingdom, 2011), Campus Saint Louis Art Museum (Missouri, United States of America, 2013), Campus Joachimstraße (Berlin, Germany, 2013), Museo Jumex (Mexico City, Mexico, 2013), One Pancras Square (London, United Kingdom, 2013), Royal Academy of Arts masterplan (London, United Kingdom, 2018), Hoxton Press (London, United Kingdom, 2018) and Kunsthaus Zürich (Zurich, Switzerland, 2020).

 

Chipperfield is the 52nd Laureate of the Pritzker Architecture Prize. He resides in London and leads additional offices in Berlin, Milan, Shanghai and Santiago de Compostela. The 2023 Pritzker Prize ceremony will be held in Athens, Greece this May.

Release The Hyatt Foundation

The Pritzker Architecture Prize (pritzkerprize.com)

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Die neue U-Bahnstation Museumsinsel im Berliner Stadtzentrum empfängt die Fahrgäste mit einem künstlichen Sternenhimmel. Das auf Basis von 3D-Planung vorgefertigte Gewölbe wurde mit Aquapanel Cement Board Outdoor verkleidet. 6.662 Auslässe für 6.662 Lichtpunkte inklusive. Das begrenzte Zeitbudget erforderte eine enge Zusammenarbeit zwischen der K. Rogge Spezialbau GmbH und Knauf. weiterlesen →         

Baubetrieb

Aufzugtechnik

Diébédo Francis Kéré, architect, educator and social activist, has been selected as the 2022 Laureate of the Pritzker Architecture Prize, announced Tom Pritzker, Chairman of The Hyatt Foundation, which sponsors the award that is regarded internationally as architecture’s highest honor.“I am hoping to change the paradigm, push people to dream and undergo risk. It is not because you are rich that you should waste material. It is not because you are poor that you should not try to create quality,” says Kéré. “Everyone deserves quality, everyone deserves luxury, and everyone deserves comfort. We are interlinked and concerns in climate, democracy and scarcity are concerns for us all.”

Léo Doctors’ Housing, photo courtesy of Francis Kéré

Born in Gando, Burkina Faso and based in Berlin, Germany, the architect known as Francis Kéré empowers and transforms communities through the process of architecture. Through his commitment to social justice and engagement, and intelligent use of local materials to connect and respond to the natural climate, he works in marginalized countries laden with constraints and adversity, where architecture and infrastructure are absent. Building contemporary school institutions, health facilities, professional housing, civic buildings and public spaces, oftentimes in lands where resources are fragile and fellowship is vital, the expression of his works exceeds the value of a building itself.

Gando Primary School“

Francis Kéré is pioneering architecture - sustainable to the earth and its inhabitants – in lands of extreme scarcity. He is equally architect and servant, improving upon the lives and experiences of countless citizens in a region of the world that is at times forgotten,” comments Pritzker. “Through buildings that demonstrate beauty, modesty, boldness and invention, and by the integrity of his architecture and geste, Kéré gracefully upholds the mission of this Prize.”
 

Gando Primary School (2001, Gando, Burkina Faso) established the foundation for Kéré’s ideology– building a wellspring with and for a community to fulfill an essential need and redeem social inequities. His response required a dual solution – a physical and contemporary design for a facility that could combat extreme heat and poor lighting conditions with limited resources, and a social resoluteness to overcome incertitude from within the community. He fundraised internationally, while creating invariable opportunities for local citizens, from conception to vocational craftsmanship training. Indigenous clay was fortified with cement to form bricks with bioclimatic thermal mass, retaining cooler air inside while allowing heat to escape through a brick ceiling and wide, overhanging, elevated roof, resulting in ventilation without the mechanical intervention of air conditioning. The success of this project increased the school’s student body from 120 to 700 students, and catalyzed Teachers’ Housing (2004, Gando, Burkina Faso), an Extension (2008, Gando, Burkina Faso) and Library (2019, Gando, Burkina Faso).

The 2022 Jury Citation states, in part, “He knows, from within, that architecture is not about the object but the objective; not the product, but the process. Francis Kéré’s entire body of work shows us the power of materiality rooted in place. His buildings, for and with communities, are directly of those communities – in their making, their materials, their programs and their unique characters.”

Burkina Institute of Technology

The impact of his work in primary and secondary schools catalyzed the inception of many institutions, each demonstrating sensitivity to bioclimatic environments and sustainability distinctive to locality, and impacting many generations. Startup Lions Campus (2021, Turkana, Kenya), an information and communication technologies campus, uses local quarry stone and stacked towers for passive cooling to minimize the air conditioning required to protect technology equipment. Burkina Institute of Technology (Phase I, 2020, Koudougou, Burkina Faso) is composed of cooling clay walls that were cast in-situ to accelerate the building process. Overhanging eucalyptus, regarded as inefficient due to its minimal shading abilities yet depletion of nutrients from the soil, were repurposed to line the angled corrugated metal roofs, which protect the building during the country’s brief rainy reason, and rainwater is collected underground to irrigate mango plantations on the premises.

Gando Primary School Library

The national confidence and embrace of Kéré has prompted one of the architect’s most pivotal and ambitious projects, the National Assembly of Burkina Faso (Ouagadougou, Burkina Faso), which was commissioned, although remains unbuilt amidst present uncertain times. After the Burkinabè uprising in 2014 destroyed the former structure, the architect designed a stepped and lattice pyramidal building, housing a 127-person assembly hall on the interior, while encouraging informal congregation on the exterior. Enabling new views, physically and metaphorically, this is one piece to a greater master plan, envisioned to include indigenous flora, exhibition spaces, courtyards, and a monument to those who lost their lives in protest of the old regime.A poetic expression of light is consistent throughout Kéré’s works. Rays of sun filter into buildings, courtyards and intermediary spaces, overcoming harsh midday conditions to offer places of serenity or gathering. The concrete roof of Gando Primary School Library was poured around a grid of traditional clay pots, that once extracted, left openings allowing heat to escape while circular beams of natural light could linger and illuminate the interiors. A facade constructed of eucalyptus wood surrounds the elliptical building, creating flexible outdoor spaces that emit light vertically. Benga Riverside School (2018, Tete, Mozambique) features walls patterned with small recurring voids, allowing light and transparency to evoke feelings of trust from its students. The walls of Centre for Health and Social Welfare (2014, Laongo, Burkina Faso) are adorned with a pattern of framed windows at varying heights to offer picturesque views of the landscape for everyone, from a standing doctor to a sitting visitor to a lying patient.The Citation continues, “In a world in crisis, amidst changing values and generations, he reminds us of what has been, and will undoubtably continue to be a cornerstone of architectural practice: a sense of community and narrative quality, which he himself is so able to recount with compassion and pride. In this he provides a narrative in which architecture can become a source of continued and lasting happiness and joy.”

Sarbalé Ke
 

Kéré’s designs are laced with symbolism and his works outside of Africa are influenced by his upbringing and experiences in Gando. The West African tradition of communing under a sacred tree to exchange ideas, narrate stories, celebrate and assemble, is recurrent throughout. Sarbalé Ke at Coachella Valley Music and Arts Festival (2019, California, United States) translates to “House of Celebration” in his native Bissa language, and references the shape of the hollowing baobab tree, revered in his homeland for its medicinal properties. The Serpentine Pavilion (2017, London, United Kingdom) also takes its central shape from the form of a tree and its disconnected yet curved walls are formed by triangular indigo modules, identifying with a color representing strength in his culture and more personally, a blue boubou garment worn by the architect as a child. The detached roof resonates with that of his buildings in Africa, but inside the pavilion, rainwater funnels into the center of the structure, highlighting water scarcity that is experienced worldwide. The Benin National Assembly (Porto-Novo, Republic of Benin), currently under construction and situated on a public park, is inspired by the palaver tree. While parliament convenes on the inside, citizens may also assemble under the vast shade at the base of the building.Many of Kéré’s built works are located in Africa, in countries including the Republic of Benin, Burkino Faso, Mali, Togo, Kenya, Mozambique, Togo, and Sudan. Pavilions and installations and have been created in Denmark, Germany, Italy, Switzerland, the United Kingdom and the United States. Significant works also include Xylem at Tippet Rise Art Centre (2019, Montana, United States), Léo Doctors’ Housing (2019, Léo, Burkina Faso), Lycée Schorge Secondary School (2016, Koudougou, Burkina Faso), the National Park of Mali (2010, Bamako, Mali) and Opera Village (Phase I, 2010, Laongo, Burkina Faso).Kéré established Kéré Foundation in 1998 to serve the inhabitants of Gando through the development of projects, partnerships and fundraising; and Kéré Architecture in 2005 in Berlin, Germany. Kéré is the 51st Laureate of the Pritzker Architecture Prize, and is a dual citizen of Burkina Faso and Germany.

Release The Hyatt Foundation

The Pritzker Architecture Prize (pritzkerprize.com)