3 Months To Go Expo 2020 Dubai Connects Minds and Creates the Future

With 3 months to go until the opening of Expo 2020 Dubai, on October 1st, the organizing committee has released updated images highlighting ready and completed pavilions. With officially 191 participating nations, the expo is seeking to “explore the power of connections in shaping our world”. Showcasing architecture, culture, and inspiring innovations, the world expo has been, for the past 170 years, the leading platform to introduce great inventions and architectural revolutions, most of which shaped the world we live in today.

Under the theme of “connecting minds and creating the future”, Expo 2020 Dubai will run from 1 October 2021 until 31 March 2022, after being delayed for one year due to the worldwide coronavirus situation. Located south of Dubai, the world expo’s master plan designed by HOK is centered on Al Wasl Plaza, by Adrian Smith + Gordon Gill, the world’s largest unsupported dome at the intersection of the expo’s three thematic districts and their corresponding pavilions: the Sustainability Pavilion “Terra” by Grimshaw, the Mobility Pavilion “Alif” by Foster + Partners, and the Opportunity Pavilion “Mission Impossible” by AGi Architects. The Thematic Districts, which will house over 87 new permanent buildings and host the work of more than 136 participating countries have been created by Hopkins Architects.

Taking place for the first time in the Middle East, Africa, and South Asia, Expo 2020 Dubai will include, other than the main architectural attractions, country pavilions divided onto the Sustainability, Mobility and Opportunity districts; special pavilions such as the Women’s Pavilion by e.construct; partner pavilions and organization pavilions like the African Union Pavilion.

written by : Christele Harrouk
13 Jul 2021
published in : archdaily.com

Gallery og 3 Months To Go Expo 2020 Dubai Connects Minds and Creates the Future

Jolson Architecture And Interiors Completes Pt. Leo Estate Winery With Sculptural Walls In Australia

Pt. Leo Estate Winery With Sculptural Walls by Jolson Architecture And Interiors

Australian firm Jolson Architecture and Interiors have completed the Pt. Leo Estate Winery with sculptural walls on a rural site in coastal Mornington Peninsula, Australia.

The language of the building emerges from within an established vineyard as a synthesis of fine wine, sculpture, architecture rural landscape and dramatic ocean views.
Deeply embedded in context, the building rises from the ground as an abstract architectural gesture following the curving nature of the site, referencing the process of winemaking and taking on a subtle sculptural quality of its own.

The building was designed for Pt. Leo Estate, a premium Australian wine producer as well as an avid art collector. The building brings the two together as a cellar door, restaurant and sculpture park, contextually framed by a dramatic rural property. Purposefully located on the highest point of this 135-hectare site, the concept was to invite the public to engage with an established vineyard, dramatic ocean views and a truly Australian landscape.
The curvaceous form is an abstract interpretation of wine pouring from a bottle and the organic cycle of the wine harvest. A bold landscaped gesture and design with fluid walls creates a strong dialog with the curvature of Inge King’s iconic sculpture, one of the client’s existing collection.

The built form surfaces from the earth, as you transition through the forecourt the walls which hold back the extended vineyard. In summer months, long tendrils of vine cascade over to veil and anchor the building, reinforcing the design’s response to site and context. It is a building that is of the land, and in the land. The cracked granite forecourt surface, together with the asymmetrical placement of the single Bottle Tree is evocative of the Australian rugged, eroded and cracked landscape.

The entry arbour acts as a filter distinguished by an abundance of natural light coming through the timber slats in the ceiling to separate the forecourt from the radial pavilion.

The interior embraces the radial faceted grid embedded in the architecture and expresses it through the walls, ceilings and joinery. The finishes were carefully crafted, responding to the tonal shifts in the adjacent paddocks and inspired from a deconstructed wine barrel, with a predominance of steel and timber lining the inner surfaces.
The building’s radial plan organises and separates the three briefed zones of the Entry Arbour, Cellar Door & Restaurants. The sweeping form articulates each area without the need for walls or partitions within a large open space and results in an internal experience honouring the client’s desire that each function concurrently with equal emphasis.

Within the radial plan is nested the Cellar Door, Pt. Leo Restaurant and Laura Fine Dining. To the left of the entry, the Cellar Door uses the vineyard adjacency to facilitate conversations about the wine and extends to an outdoor terrace. To the right, the Fine Dining is named after Jaume Plensa’s Laura sculpture and offers a set menu inspired by the regional produce of Mornington Peninsular.
From within the building, there is a constant connection with the surrounding landscape and sculpture park, intentionally positioned in the sightlines between the two. Likewise, the building has an intentional humility when viewed from within the sculpture park. Its presence diminishes with the radial sweep of the building emphasising the art itself.

The sculpture park follows a meandering path as it wraps around the architecture creating an intermediary in the view between architecture and vineyard or ocean. Showcasing over 50 large-scale sculptures from local and international artists and curated by Geoffrey Edwards, the former director of Geelong Gallery, artists include Clement Meadmore, Deborah Halpern, Inge King, Tony Cragg, Jaume Plensa, Anthony Pryor and Augustine Dall’ava.

According to the studio, “this project represents Jolson’s first public and hospitality commission in architecture, interior design and landscape master planning – a huge departure in scale and typology for the residential sector.”

The design celebrates its contextual Australian location and brings together architecture and landscape with a simple lasting gesture which evokes a sensory experience for its visitors.

Pt. Leo Estate Project Details

Architects: Jolson Architecture and Interiors
Location: Merricks, Australia
Year: 2017
Photographs: Lucas Allen
Country: Australia

written by : via Jolson Architecture and Interiors
26 Jul 2021
published in : worldarchitecture.org

Gallery of Pt. Leo Estate by Jolson Architecture And Interiors

An urban lighthouse: 2021 MPavilion design released

A “kaleidoscopic” design dubbed “the Light Catcher” has been revealed as the 2021 MPavilion, which will be installed in Melbourne’s Queen Victoria Gardens in November.

“The structure we imagine is a shimmering device that qualifies itself as an urban lighthouse that hosts and enlightens the cultural activities planned for the 2021 summer season in Melbourne,” said Traudy Pelzel of Map Design Studio from Venice, who was tapped to design the pavilion by the Naomi Milgrom Foundation.

“A kaleidoscopic structure that reflects and amplifies activities, people and colours. For this reason, we call it ‘The Light Catcher.’”
The pavilion will be made from a three-dimensional steel lattice structure, which in turn supports a series of mirror-finished aluminium coated panels that reflect the light, colours and activities around it. The lattice will be supported on a series of precast concrete pillars.

The distinctive U-shape of the pillars and their smooth surface mean they can also be used for seating.
The floating structure will be grounded by an organically shaped and coloured surface. A separate kiosk will be used to shelter a service cart and store loose furniture.

Map Studio was originally appointed to design the 2020 MPavilion, however, construction was delayed due to the onset of the COVID-19 pandemic.

The 2021 MPavilion will occupy the Queen Victoria Gardens from 11 November 2021 until 20 March 2022, after which it will be gifted to the City of Melbourne and moved to a permanent location.

written by : ArchitectureAU Editorial
23 Jul 2021
published in : architectureau.com

Collins Beach House-Tobias Partners

Collins Beach House -Tobias Partners

Text description provided by Tobias Partners Architects. This home is set on a beautiful, semi-bushland, yet urban site on the edge of the harbour, with two mature Norfolk Pine trees standing guard to the North-West. This incredible location offered a truly unique setting for our client’s house – however the site’s shape and boundaries, significant setback controls and bushfire zoning presented challenges to the design and use of the site.

The site is surrounded by neighbours to the East, North and West but to the South are incredible unbroken views over the coves around Collins beach and the harbour beyond. Whilst framing the views to the South and surrounding bushland, the house also had to ensure privacy from neighbours and simultaneously capture the Northern sun which is impeded by other houses, a steep hill and large existing Pine trees.

With the immediate connections to nature, we wanted the house to feel nestled into this environment throughout every part of the house. It was also essential to frame the many enchanting views, giving every space a well orchestrated connection to the outdoors without feeling exposed to the surrounding neighbours.
Three volumes are positioned at angles to each other, informed by the unusual shape of the site, to capture the views and create several external areas, each with it’s own function. Two of the volumes sit at ground level. The third hovers above the others, leaving a negative space underneath.

This negative space houses the central core functions: entry, kitchen and circulation. From this zone, everything else branches out: the garage and rumpus volume to the East cantilevers over native grasses and focuses out to the bush and the harbour; the living volume to the West sits between two garden areas, slightly elevated above a third garden space and focusing out to the harbour beyond. The third volume hovering above has a solid façade on one side protecting it from the overlooking neighbours, with a fully glazed façade on the other to capture expansive views from all of the bedroom and bathroom functions.

The house called for seamless flow between the internal spaces and various external experiences; the bushfire zoning therefore required extensive detailing to integrate fire curtains with the architecture. Blackbutt timber was also employed where possible as a more aesthetically appealing bushfire-rated solution to screening and glazing. The concept of a house intrinsically connected to its natural environment has carried through to the way it is occupied – doors and windows are rarely closed, the boundaries between inside and outside erased. Yet even with this level of transparency between the building and the site, the house retains warmth and a sense of protection.

This site is also home to an abundance of wildlife including a population of bandicoots and the design allows for a significant unobstructed corridor for the bandicoots to pass through without danger or hazards. In addition, all of the planting is native, with many species being common to the immediate area. The project is one of minimal tolerances and demanding details, the challenges of which were exceeded by the various craftspeople involved in its construction. The integration of rudimentary fire curtains into elegant, sloped steel portals is one example of the intense collaboration required between various contributors to ensure the project’s success. The simple construction methodologies and material palette throughout ensure that the house is an efficient building and timeless home.

Collins Beach Project Details

Architects: Tobias Partners
Area: 580 m²
Year: 2020
Photographs: Justin Alexander
Manufacturers: Vitrocsa, Cult, Dedece, Viabizzuno, Vola, iGuzzini, Anibou, Axor, Matt Baker Joinery, Simple Studio, Space Furniture
Country: Australia

written by : Hana Abdel
26 Jun 2021
published in : archdaily.com

Gallery of Collins Beach House by Tobias Partners

Valentino Gareri Atelier Designs 3D-Printed Sunflower Community Village

Valentino Gareri Atelier has revealed design for a new 3D-printed residential village which will comprise 19 homes designed as “a new model of sustainable community village”, envisioned for low density and rural areas.

Called Sunflower Village, the project is developed with technology futurist & wellness consultant Steve Lastro of 6Sides and global wellness real estate and technology leaders Delos to propose more humanistic, sociological approach to residential technology & community living.

According to the team, the project emerged in response to the amount of people who wanted to escape from high-dense urban centers into small or remote space during the pandemic. The pandemic also encouraged a new ways of working, which has largely increased working-from-home friendly policies.

“The exodus from big cites to small towns and rural areas highlights the necessity of re-thinking about the requalification of these areas and defining a new model of city for the post-pandemic future,” said Valentino Gareri Atelier.
For a general layout, the architects take cues from a sunflower, the arrangement of the houses ‘follows’ the sun circle, where the lots and houses are radially distributed around a central communal area. Photovoltaic roofs are shaped and angled in order to receive clean energy from the sun, as a sunflower does in nature every day.

The 19 homes are designed as singular-story houses that are built by using 3d-concrete-printing technology, while the adopted construction process naturally shapes the final urban form.

“History tells us that new materials and construction techniques had always influenced the forms of the buildings. Each of the most significant architectural forms has been aided by the discovery of new construction method,” added Valentino Gareri Atelier.

“From stone and timber structure to the adoption of bricks and the arch-vaulting system, or the introduction of reinforced concrete structure that made possible to create higher and more transparent buildings.” “Similarly, the 3D printing technology will give form to the city of the future,” the firm added.

The construction site is placed in the center to allow the concrete-printer machine to move through extendable and retractable binaries. For this reason, all houses will be printed in sequence by rotating in the central site area thanks to a temporary placed turning-table.

As Valentino Gareri Atelier highlights, “this represents a more sustainable construction process compared to a traditional one, as less soil is utilized during the working phase.”

Every single house is designed to be energy self-efficient. The building shape naturally promotes the sun energy collection thanks to photovoltaic frameless tiles that clad the angled roofs.

The roofs, like a sunflower, are angled to ‘follow’ and catch the most efficient amount of solar radiation, according to the site latitude. The clean energy is collected in batteries and utilized for the floor-heating system, for air-conditioning, and for electric cars alimentation.

Moreover, the roof inclination, promotes the rain water collection, aimed to be used for toilets and irrigation, into a water tank located in the service room. Here the height of the building is reduced to the minimum necessary, saving material to be utilized in the opposite site of the building, where the height is increased to maximize the view towards the countryside.

PV panels are allocated only on the roofs which have the best exposure to the sun, the energy accumulated is shared with the whole village, and the facades are treated in order to achieve the best performance according to the solar orientation.
The generated house geometry promotes and increases the “chimney effect” reducing the need for air-conditioning energy thanks to the natural ventilation.

The energy self-sufficient houses, immerse and completely open to nature, are designed as sustainable ‘machines’ where the final shape is the result of scientific criteria that have the aim to save or produce energy.

With wellness to be at the forefront of Sunflower Village, each home is fitted with DARWIN Home Wellness Intelligence by Delos, “the world’s first holistic in-home wellness platform that is designed to passively enhance human health and well-being through air purification, water filtration and lighting that mimics natural daylight.”

The reason of a circular urban configuration is also provide a more sustainable way of connecting the dwellings, by reducing the amounts of necessary roads and the dependency from cars.

The combination of more villages forms a new multi-centric urban configuration and a new model of city of the future, characterized by a strong sense of community.

The city of the future should be seen as a new Garden City 2.0, that promotes a return to nature, limits the need of cars and facilitates the sense of living together.

An aggregation of a few ‘Sunflowers’ can create a Small Town where at the centre of each circle can be placed a public function such as schools, kindergartens and civic centers.
“Architecture has the power to create places that don’t exist yet, but in our dreams. ‘Sunflower’ is the model of the city we dream for tomorrow,” said Valentino Gareri.

written by : WA Contents
28 Jun 2021
published in : worldarchitecture.org

Australia’s first combined children’s health and education centre

Construction has begun on a seven-storey commercial building that will be home to Australia’s first combined children’s health and education centre.

The building, dubbed Proxima, is designed by PDT Architects and will be located within the Queensland government’s 9.5-hectare Gold Coast Health and Knowledge Precinct, a development area dedicated to life sciences, health and technology-related businesses.

The building will house five storeys of lettable office space as well as a childcare centre for up to 400 children, to be operated by Sanctuary Early Learning Adventure, which will also create a unique environment to support children with special needs.

Griffith University will also establish a centre for excellence in Inclusive Early Childhood Education in the building. “The centre brings together interdisciplinary teams across Griffith’s Allied Health disciplines and Early Childhood Education to embed a model of research-integrated inclusive childcare education,” said Griffith University Vice Chancellor Carolyn Evans.

Queensland deputy premier Steven Miles said, “This is an Australian-first, an early learning centre with in-house access to allied paediatric health and research professionals, that will be within Lumina at the Gold Coast Health and Knowledge Precinct.”

Meaghan Scanlon, minister for science and youth affairs, added, “Innovation within the health and knowledge sectors is exactly why this precinct was established, and it’s great to see it coming to fruition.

“Children will have access to the expert care that they need within a familiar, fun and caring environment at their early learning centre.”

The $80 million centre is the first private development within the commercial cluster and is a project of Evans Long.

written by : ArchitectureAU Editorial
15 Jul 2021
published in : architectureau.com

Smooth Surfaces And Crafted Details Form The Interiors Of Alexander House In Australia

Alexander House by Alexander&Co

Interior design firm Alexander and Co has used pinkish-toned furniture made of smooth surfaces and crafted details in the interiors of the new Alexander House in Bondi Junction, Australia.
Named Alexander House, the 250-square-metre space was designed as a design laboratory that combines working, meeting and living together in a uniquely-designed atmosphere.

The house reflects itself as an architectural residential showcase, while offering a purpose-built live/work set up, challenging preconceptions of home, land, family and work.
The team also describes the house as “a prototype for exploring sustainability, carbon sequestration and environmental innovation.” The interiors feature elegant details that reflect the skills of the local artists.

A very impressive material combination with the adaptation of soft and powder colored tones are also at the heart of the space that make you feel at h-your own home.

“The Alexander House is our new way of practicing our craft. A courageous space to foster leadership, creativity and learning,” said Alexander&Co.
The house was designed as a safe and comfortable space for reflection, experimentation and to nurture the creative spirit. The house is conceived as a prototype and a place for community gatherings and meetings to test out and challenge ideas.

Although the space looks like a real home, the space is open to host events, providing “Creative Conversations” and utilizing Alexander House to open a wider dialogue in the creative industry. The space would impact and our potential to introduce change, according tot he team.
“We are passionate about local artists and are underway with discussions regarding a moving gallery concept – perhaps even a future artist in residence,” continued the studio.

“We are also committed to educating and engaging our team around reconciliation and have engaged Susan Moylan-Coombs from the Gaimaragal Group to host a series of ‘Cultural Conversations’.”

“We are looking forward to sharing these discussions with our team and wider community,” the team added.
Inside, the studio has used reclaimed timbers, rammed earth bricks from waste materials, a cohesive material palette of concrete, polished plaster, steel, brass and stone accents, which have all supported the studio’s aesthetic vision and fostered a ‘found’ feeling.

The architects have chosen finishes and materials which are inherently imperfect.

According to the studio, “materials are deeply expressive and were selected to show their age, as is the case with the sandblasted timber and brass which could blacken and develop over time.”
In the project brief, there was a key design factor in the project: site limitations, but this has encouraged creativity when it came to encompassing the various program functions its team required within the small terrace footprint with each of the four floor plates conceived to be programmed separately and transition with time.

Private exterior spaces and internal spaces are arranged vary in material, scale, lighting and volume inside. Each space has a different character and allows guests to provide both a true residential showcase experience for the clients and a flexible working environment for its team.

Alexander House Project Details

Architects: Alexander&Co.
Area: 250m2
Year: 2020
Photographs: Anson Smart
Country: Australia

written by : Alexander&Co.
14 Jul 2021
published in : worldarchitecture.org

Gallery of Alexander House by Alexander and Co Architects

Pride Centre brings the unconventional to Melbourne

The Victorian Pride Centre has this week been unveiled by Hansen Yuncken. It is Australia’s first purpose-built LGBTIQ+ community hub, and celebrates the community’s achievements, as well as Australia’s cultural and social diversity.

Located in St Kilda, Melbourne, the project is of truly unconventional proportions. Occupants will struggle to locate edge, with the building to be home to 15 organisations, a communal ground floor of shared workspaces, a theatrette, a gallery, the Australian Queer Archives, and a rooftop garden. Overlooking Port Phillip Bay and the city skyline, the building is 6,000 metres square in total.

The building was designed by St Kilda-based Grant Amon Architects and Brearley Architects & Urbanists, and was supported by the Victorian Government, City of Port Phillip, philanthropy and LGBTIQ+ community members.
Justine Dalla Riva, CEO of the Victorian Pride Centre, says the building embodies much of the community’s values.

“The Victorian Pride Centre is a stunning and culturally significant hub for Melbourne’s queer community. It will create a safe and vibrant space for LGBTIQ+ groups and organisations to exchange ideas and resources to further their work in supporting equality, diversity and inclusion,” she says.

The project’s rainbow-inspired design, many intricate details and highly constrained site created numerous challenges, in addition to those presented by COVID-19 restrictions. The construction was able to move beyond these adversities to form a building suitable for the LGBTIQ+ community.

“We’re proud to have helped create such an important space for Melbourne’s LGBTIQ+ community,” says Richard Hansen, Victoria State Manager of Hansen Yuncken.

“It’s the second largest building of its kind in the world and there are many elements that required innovative approaches to realise the architect’s vision.

“For example, our team undertook extensive prototyping and digital modelling to test acoustics and waterproofing before the installation of the statement angled panels and windows. A large volume of Glass Reinforced Concrete and precast curved elements were among the challenges we solved to deliver the sweeping curves of the building you see today.”
The innovative approaches Hansen speaks of refers to ensuring public access during construction, including the complex installation of the ‘eggshell’ feature in the atrium, which takes its inspiration from an emu egg, celebrating the Boon Wurrung First Nations Indigenous people and history of the area.

Hansen Yuncken worked in partnership with the Victorian Pride Centre to meet all building regulations, minimise local disturbance during construction and deliver a range of bespoke design elements including extensive curved precast feature panels, 41 individually curved windows, 720 panels of glass, 17 glass-reinforced concrete vaults, 7 layers of construction for the Eastern facade detail, 1,000+ individually hand worked aluminium cladding panels, 1 silver-top ash log repurposed as feature timber panelling, and a feature exposed spotted gum stair and seating platforms at ground floor level open to the level 4 roof skylight

“It has been a journey to say the least, but creating something worthwhile, something unique takes time. We thank Hansen Yuncken and the team on the ground who have worked with us, it really does take a village to build Pride,” says Dalla Riva.

17 Jul 2021
published in : architectureanddesign.com.au

Pride Centre brings the unconventional to Melbourne

The Victorian Pride Centre has this week been unveiled by Hansen Yuncken. It is Australia’s first purpose-built LGBTIQ+ community hub, and celebrates the community’s achievements, as well as Australia’s cultural and social diversity.

Time to ‘reconnect’ Open House Melbourne 2021

Themed “Reconnect,” this year’s Open House Melbourne program invites us to get back in touch with the city through its more than 150 buildings, tours and events.

“The theme of ‘reconnect’ really speaks to our collective desire to re-engage with our city, our suburbs, and a future […] after experiences of pandemic, lockdown and isolation,” said Fleur Watson, executive director and chief curator of Open House Melbourne.

“This year, Open House Melbourne, through ‘reconnect,’ asks us to reimagine out city.

“How will we occupy it – our homes, our places of work, our civic and educational institutions, our community spaces, and our meeting places.

“And it’s through these kinds of adaptive changes that we can reclaim the agency for design in shaping the public good.”

“We can think about our values, our systems, our architecture and our spaces to achieve a more adaptable, equitable and more sustainable future for our built environment.”
The 2021 program will be a hybrid of physical and virtual, with 47 new sites across greater metropolitan Melbourne, as well as returning favourites.

The program will also include a series of walking tours, workshops, talks and film screenings.

Open House Melbourne weekend is on 24 and 25 July. Bookings for buildings and events open on 9 July.

written by : ArchitectureAU Editorial
9 Jul 2021
published in :architectureau.com

Above Board Living-Luigi Rosselli Architects

Above Board Living / Luigi Rosselli Architects

Text description provided by Luigi Rosseli Architects. Where the land meets the sea the blue expanse of ocean and sky is a magnet for humanity, the Blue Planet Dwellers; this home, created for a family reaching maturity, with adult children and parents deeply passionate about good design, expressed through their creation and manufacture of accessories for daily life, aimed to remove barriers to that irresistible attraction. They craved the ability to live their lives intimately connected to the nearby Bronte Beach and the Pacific Ocean horizon beyond; to watch the morning sun rise from its depths and be immersed in the conditions of the surf and sea breezes rising from the water.

Traditionally in Europe it was quite common for the living spaces of a home to be positioned on the upper levels, with space for livestock and storage at ground level, however in Australia is engrained the lifestyle to place the ‘living areas’ at garden level. Our family though were keen to turn their world upside down and position their living spaces on the upper level to capture the breezes and enhance their views with that ocean connection, and detach themselves from the busy streets of the beachside neighbourhood below.

Our client’s main aspiration was to achieve a very natural lifestyle, and so we created a design for them that sought to reflect this aspiration, with large openable windows to catch the breezes, skylights and shuttered openings to control the access to natural sunlight, rammed earth walls providing thermal mass and the cooling effect of the hydroscopic qualities of clay, and a roof garden to elevate the landscaping enhance the access to green space. The materials were selected to promote the authenticity and ‘above board’ genetics of this home: rammed earth, timber, zinc and iron were treated in a ‘matter of fact’ way. The rammed earths used were carefully dosed to provide a ‘sun-blushed’ epidermis.

Though the project embraces the natural, Luigi Rosselli Architects have not refrained from using these materials in a cultured and referential way, their history is revealed in all the design choices. The Carl Scarpa inspired stone mosaic floor (Venetian influence), the arched master bedroom door (byzantine or oriental), the traditional ironwork balustrades (medieval) and the latticework of the shutters (drawing on lace making as inspiration). The architecture embraces the fluidity of forms that enhance the function and aims of the design.

To the exterior the recessed front entry is framed by projections to each side, the balcony shape to the first floor reaches eagerly towards the ocean views, while the strong vertical form of the rammed earth chimney to its opposite side anchors down the whole structure.
One of the greatest experiences an Architect is gifted is to work with skilled trades who are able to interpret and execute their designs with an additional zest. In the realisation of the project the contractors who lent their skill to the tiling, the set plaster, the ironwork, the joinery, the roofing and the rammed earth are all worth naming and praising for their unique contributions with, or course, particularly merit given to the Builder who directed them.