Bartlett Design Research Folios

55  02

by sixteen*(makers)
Bartlett Design Research Folios

Project Details

Practice: sixteen*(makers)

Designer: Bob Sheil

Co-designers: Nick Callicott, Stahlbogen GmbH; Phil Ayres, Centre

for Information Technology in Architecture (CITA),
Royal Academy of Fine Art Copenhagen; Emmanuel
Vercruysse, The Bartlett School of Architecture, UCL.

Sheil realised this project through the collaborative

practice, sixteen*(makers), comprised of Sheil,
Callicott, Ayres and Vercruysse

Title: 55/02

Output type: Building

Function: Shelter

Location: Cock Stoor, Lakeside Way, Kielder Water and

Forest Park, Northumberland, UK

Client: Kielder Partnership (representing: Calvert Trust,

Environment Agency, Forestry Commission,
Northumberland County Council, Northumbrian
Water, Northumberland Wildlife Trust and local
community groups)

Practical completion: 2009 (commissioned 2008)

Budget: £50,000

Size: 15m × 11m

Engineer / Fabricator: Stahlbogen GmbH

2 55/02
Bartlett Research Folio 3
4 55/02

Statement about
the Research Content and Process

Description
55/02 is one of the earliest examples in the UK of a building
entirely designed and fabricated through digital technology,
and is unique in how this process was explored as an evolving
exchange of design and manufacturing relationships. The shelter
responds to Kielder’s manufactured landscape and history, and
to the particular topology of its site at Cock Stoor. It provides
protection from prevailing weather, with seating positions that
look out upon key vistas, in a position that was previously
inaccessible to visitors.

Questions
1. How may the common distinction of design, fabrication
and construction, as discrete phases of activity, be challenged
through digital design and fabrication technologies at
full scale?
2. How may the designer’s ability to see what is being made
and their direct engagement in the process of production
alter the outcome of their intent?
3. How may critical methodologies of digital design and
fabrication processes facilitate an innovative and creative
relationship between design practice and industry?
4. How may notions of site specificity be enhanced through
advanced architectural design?

1 (previous page)
The entirely
prefabricated shelter
‘55/02’ settles into
its new surroundings
(June 2009).
Statements 5

Methods
1:1 manufactured prototypes, including CNC folding, plasma
cutting and semi-automated welding, were central to the research
process. In addition, simultaneous elementary sketches, 2D
and 3D CAD models (Vectorworks, Rhino, Autodesk Inventor),
3D printed scaled models (ZCorp), contextual drawings (Illustrator
and Photoshop), further CNC-manufactured prototypes in steel
plate, and modifications during fabrication (metalwork, finishing)
were used.

Dissemination
Published in a monograph, refereed paper and three book
chapters, featured in a touring exhibition, and presented in six
international keynotes/lectures. It has also been widely reviewed,
including in three book chapters, 11 journal articles and three
online video documentaries.

Statement of Significance

Recipient of 2011 RIBA Regional (NE) Award for Design (with

automatic longlisting for RIBA Stirling Prize 2011). Exhibited
at Royal Academy Summer Exhibitions 2009 and 2010.
6 55/02

2
Looking north towards
the site at Cock Stoor
prior to installation
(2008)
Introduction / Aims and Objectives 7
Introduction
55/02 is an experiment in making digital
architecture in collaboration with the
manufacturing industry. It represents one
of the earliest examples in the UK of a
building entirely designed and fabricated
through digital technology and is unique
in how this process was explored as an
evolving exchange of design and
manufacturing relationships from
concept to completion (Stacey 2009:
Appendix 2.10). 55/02 is also a site-
Aims and Objectives
The competition brief asked for ‘some
form of shelter for up to four people, with
seating’, and ‘some form of engagement
with the Kielder landscape’ for a budget
of £50,000 on a hypothetical site. Unlike
each of the other five selected projects,
55/02 won the commission on the basis
of a design strategy rather than a
predetermined form. The strategy was
twofold: first, it is informed by the real
location rather than a hypothetical one;
second, it is developed as a collaboration
between architects sixteen*(makers),
led by Bob Sheil, and steel fabrication
specialists Stahlbogen GmbH of
specific building in that it is tailored to
respond, in broad terms, to Kielder’s
manufactured landscape and history, and
in local terms to the particular topology
and configuration of its site at Cock Stoor
(Sheil 2009: Appendix 1.2). The shelter
provides protection from prevailing wind
and rain, with seating positions among
screens that look out upon key vistas
and landmarks in a position that was
previously inaccessible. [fig. 2 &3]
Blankenburg, Germany, led by Nick
Callicott (formerly of sixteen*(makers)
and The Bartlett, UCL). Preproduction
design was completed in May 2008.
Planning permission was granted on
17 December 2008, and production
design and manufacture began at
Stahlbogen GmbH in February 2009.
55/02 is entirely made from steel, and
was fully assembled at Stahlbogen’s
factory prior to shipping. Its 21 distinct
elements, sprayed in RAL ‘2002-
Vermilion’, weigh 8.1 tons; its footprint is
approximately 15m × 11m. The shelter
was completed on site on 26 May 2009.
[fig. 4 –9]
8 55/02

4
Freehand sketch
3 plan by Emmanuel 5
Looking south-east Vercruysse, Preproduction design
towards Cock Stoor defining dynamic file overlaid on GIS
as access road is laid spatial tactics survey file
(March 2009) (February 2008) (April 2008)
Aims and Objectives 9

5
10 55/02
Aims and Objectives 11

6
Example of planning
drawing. The
representation of
55/02 is approximate
as many of the final
design decisions
had not been made
(October 2008).
12 55/02

7
Section from the
pre-production
drawing set. The
entire scheme was
redrawn again on
several occasions
both prior to and
during production.
This set was
developed for both
structural and design
analysis (May 2008).
Aims and Objectives 13

8
3D digital sketch by
Stahlbogen, defining
structural, material
and envelope
strategy (February
2008)
14 55/02

9
Aims and Objectives 15

10

9
1:100 3D print of an
early design iteration 10
on topographical Test piece: the ‘exam’
context. Manufactured set by Stahlbogen to
at The Bartlett’s select staff fabricators
Digital Manufacturing for 55/02 (February
Centre (April 2008) 2009)
16 55/02
55/02’s award-winning design marks its
collaborative fabrication and design
methodology, and innovative utilisation of
digital technologies and analogue
processes in both design and fabrication
(Ward 2011: Appendix 2.13). The building
is both a demonstrator and a critique of
making experimental architecture in the
digital age, and signifies a uniquely
tangible outcome in response to digital
design research of the late twentieth and
early twenty-first centuries: not only as a
Questions
How may the common distinction
of design, fabrication and
construction, as discrete phases
of activity, be challenged through
digital design and fabrication
technologies at full scale?
This question was first answered through
procurement where the project was
managed under bespoke terms of
agreement with specified milestones
allowing the design to evolve through a
series of approved phases. This provided
flexibility for the collaboration between
the authors and the manufacturers
to exploit digital design and fabrication
processes creatively and efficiently. Second,
it was facilitated by the deployment of tacit
knowledge in fabrication processes, and
technical and aesthetic artefact, but also
as evidence of a process that shifts the
role of the designer from a position that
is remote from production, to one that
is engaged and influential throughout the
production process (Sheil and Callicott
2011: Appendix 1.3). 55/02 operates
on multiple scales, leading to multiple
publications, including a 12,000-word
monograph and 6,000-word refereed
paper. [fig. 10 – 12]
an approach that continuously challenged
the drawing as a complete instruction to
make. Third, speculative prototypes were
manufactured at full scale very early in the
design process. Their results subsequently
led many of the design decisions that
followed, and defined the drawn model as
a holding ground for decisions formed in
manufacture (Jones 2009: Appendix 2.7).
[fig.13 – 15]
How may the designer’s ability to
see what is being made and their
direct engagement in the process
of production alter the outcome
of their intent?
55/02 was developed in collaboration
with an industrial partner to explore the
impact of digital fabrication technologies
Aims and Objectives / Questions 17

11

12

12 for how the project

Hybrid digital and would be built at
analogue model- Stahlbogen, and to
making under way at develop and merge
11 need for a greater The Bartlett’s Digital these ideas with
1:1 Prototype of number of folds in Manufacturing Centre. further speculative
‘structural tank’. later iterations. The This series had a proposals on form,
This established same prototype was twofold purpose: to scale and spatial
choice of fold radius later used for colour take an overview on configuration
and exposed the testing (April 2008). Callicott’s proposals (April 2008).
18 55/02

13

13
Folding geometries
and folding sequences
were calibrated
by the limitations of
the CNC press and
Stahlbogen’s stock of
existing tool heads
(February 2009).
Questions 19

14

14
55/02’s first series
of elements take
shape at Stahlbogen,
Blankenburg, Germany
(February 2009).
20 55/02

15

15
Master welder Klaus
Leineweber operates
Stahlbogen’s
semi-automatic welding
tractor to stitch one
of the longest seams.
All such welds were
left exposed rather
than ground flat to
preserve the shelter’s
manufactured
blueprint (March
2009).
Questions 21
as design rather than production tools. It
operates as a critical design performance
where speculative and reflexive practices
more familiar within the domain of the
studio were tested out in a factory setting.
Subsequently, the difference between
what is drawn and what is made, and
how both realms are defined by unique
protocols, was brought into focus and
defined as a territory for enquiry and an
asset for design development. [fig. 16 – 20]
How may critical methodologies
of digital design and fabrication
processes facilitate an innovative
and creative relationship between
design practice and industry?
The design and fabrication of 55/02 not
only identified the potential for collaborative
engagement between design and industry,
but was also concerned with understanding
the differences of approach within each
discipline towards the same technology.
55/02 offered an opportunity for these
two cultures to overlap and define a new
methodology for creative knowledge
transfer. A practical exam (see Figure 10)
selected two individuals to make and
install the project from start to finish.
The evolutionary making of 55/02 defined
new protocols of craftsmanship within the
workforce and stood as a demonstrator of
alternative results that might be extracted
by everyday tools within the plant’s
inventory. [fig. 21 – 25]
How may notions of site specificity
be enhanced through advanced
architectural design?
A threefold approach was utilised: 1) The
notion of site specificity for 55/02 was
broadened to refer to Kielder’s history as
an industrialised landscape (Sheil 2009:
Appendix 1.2) and developed by the
intervention of an unambiguous industrial
architecture. Kielder Reservoir was
commissioned to serve the chemical
industries within the surrounding delta,
but has subsequently only supported
energy and leisure. This agenda is further
developed through close proximity to
evidence of process and fabrication: for
example, semi-automated welding seams
on the shelter were left exposed and not
ground down as might be expected by an
overt digital aesthetic. 2) Site specificity
was developed through contextual
modelling and survey verification. 55/02
was configured to address and reflect
particular nodes of the localised and
distant landscape. 3) The question is
finally addressed by the overlay of both
these strategies. Visitors are engaged
by an ‘alien’ artefact and find that
it is tailored to its location in a bespoke
fashion. [fig.26 – 34]
22 55/02

16

18
Track for the central
sliding screen is laid.
16 To the left in this
The first cluster image, Nick Callicott;
of elements are to the right, Bob
assembled and Sheil. The image
reviewed. The welding 17 also shows the roof
tractor can be seen in Roof assembly en assembly in position
the lower foreground route to positioning for testing
(March 2009). test (March 2009) (March 2009).
Questions 23

17

18
24 55/02

19

19
A typical illustration
of how individual
elements were
prepared in CAD for
digital fabrication.
This view has
been generated to
communicate the
context of CAD data
when the project
is talked about
in lectures (January
2010).
Questions 25

20

20
Typical illustration
of how individual
elements were
prepared in CAD for
digital fabrication
(March 2009).
26 55/02

21

21
Nick Callicott inspects
work in progress. On
account of his unique
role as co-designer and
manufacturer of 55/02,
Callicott refined and
altered production
drawings while
simultaneously
managing fabrication.
A significant factor in
its final resolution was
the decision to
assemble 55/02 on the
factory floor in a direct
line of sight from
Callicott’s drawing
position (March 2009).
 Questions 27

22

22
Eight weeks from first
fold to first full
assembly (April 2009).

23
Factory colour test.
Vermilion was
selected to offset the
forest’s predominantly
dark features and
acknowledge the
palette of livery
colours for forestry
machinery (April
23 2009).
28 55/02

24

24
Utilising the new
access pathway
generated for 55/02
as a new section of
the Lakeside Way
(May 2009)
 Questions 29

25 26

27 28

28
Nick Callicott
29 supervises and leads
on-site assembly with
the same team he
26 chose to fabricate
The ground slab is 55/02 (May 2009).
marked out using 27
factory-prepared Once the primary 29
25 sheet steel jigs, seen elements of 55/02 are Temporary strapping
Organising the here either side of in place, setting-out to adjacent trees was
assembly on site the sliding screen jigs are discarded deployed in assembly
(May 2009) lower rail (May 2009). (May 2009). (May 2009).
30 55/02

30

30
Local contractors
D.G. Walton assist in
offering components
into place (May 2009).
Questions 31

31

31
Stahlbogen’s assembly
and fabrication team,
from left: Reinhard 32 (overleaf)
Schumann, Klaus Looking down on
Leineweber, Nick Cock Stoor from a
Callicott. Redundant forestry access road
setting-out jigs can be in a northern
seen in the foreground elevated position
(May 2009). (May 2009).
32 55/02
Chapter Heading 33
34 55/02

33
Context 35

Context

Site 1:1 design and craft decisions at the place

of production are key investigations. As
55/02 – an abbreviation of its position
digital processes evolve into mainstream
at 55°11.30 N, 02°29.23 W – is located at
media and modernist arguments for mass
Cock Stoor, Lakeside Way, Kielder Water
production are challenged (Callicott
and Forest Park, Northumberland, UK.
2000), the subjects of ornament, craft
Kielder Forest contains over 150 million
and formal expression have returned to
trees; it covers an area of 650km2 and is
contemporary architectural enquiries
England’s largest forest. Kielder Reservoir
(Moussafavi 2006). The Digital Tectonics
is England’s largest artificial reservoir at
Conference (Bath, 2002) and the Acadia
200 million litres capacity. It primes
Fabrication Conference (Toronto, 2004)
England’s largest hydro-electric plant.
address the disjunction between the
55/02 was commissioned by the Kielder
relatively unrestricted domain of digital
Partnership in February 2008 along with
information and parallel engagements in
five other projects by artists and architects.
the construction industry.1
The Kielder Partnership was established
in 1994 and represents the Calvert Trust,
Industry collaboration
the Environment Agency, the Forestry
Commission, Northumberland County Routine commissions for Stahlbogen
Council, Northumbrian Water, the GmbH involve the manufacture of large
Northumberland Wildlife Trust and local pressure vessels for the chemical industry
community groups. The Kielder and steel moulds for civil engineering
Partnership’s portfolio includes award- structures to support wind turbine towers.
winning buildings and installations In this context Stahlbogen’s design staff
by artists and architects such as James concentrate on utilising 3D modelling and
Turrell and Softroom. [fig. 32 – 33] CAD-CAM to deliver and verify consistent
results rather than develop unique
Digital design constructs on every occasion. The same
software tools are utilised in the design
Digital tools have allowed for continuous
industry to explore and experiment
flow between design data and machine
with uniqueness.
production (Sheil 2005), yet the paradox
of the digital revolution in architecture is
that it coincides with a period in which the
designer’s influence on and responsibility
for how buildings are made is deeply 1. The author is founding co-chair of Fabricate,
an international conference on making digital
constrained by contract. architecture, first held at UCL in April 2011, and
scheduled to run at ETH Zürich in February 2014.
36 55/02

34

35
Methods 37

Methods

In the first instance, the brief offered the
unusual opportunity to select the project
site from a number of options along the
reservoir perimeter. The site that was
selected provided the highest degree
of raw potential for design intervention,
remote from pedestrian or vehicular
access at the time and distant from any
other Kielder Partnership commissions,
and a distinct place-making opportunity.
The design and build of 55/02 emerged
through a series of 1:1 prototypes,
simultaneous elementary sketches, 2D
and 3D CAD models, 3D printed scaled
models, contextual drawings, further
prototypes, and modifications during
fabrication. Significantly, 55/02’s design
was developed entirely in collaboration
with Stahlbogen at their factory in
Blankenburg, allowing the final construct
to develop at 1:1 as a simultaneous design
and fabrication process (Dunn 2012:
Appendix 2.3). [fig. 34– 40]

35
Close view from
33 (previous page) 34 north-east nearing
55/02 from the Cluster of roofing completion. 55/02’s
southern shore of elements assembled installation was
Kielder Reservoir and installed completed in three
(January 2010) (May 2009) days (May 2009).
38 55/02

36
Methods 39

37

36 37
Detail one of several Detail two of several
roof connection roof connection
solutions (May 2009) solutions (May 2009)
40 55/02

38

38
View from south- 39
west, within Cock The sliding screen
Stoor plantation in closed position
(May 2009) (May 2009)
Methods 41

39
42 55/02
Dissemination 43

Dissemination

Monograph
R. Sheil (ed.), 55/02: A sixteen*(makers) Project Monograph. Toronto: Riverside
Architectural Press, 2012.

Refereed article
R. Sheil, ‘A manufactured architecture in a manufactured landscape’,
Architectural Research Quarterly (2009).

Book chapters
N. Dunn, ‘Introduction: Digital tools and machines for fabrication’, ‘Integration: Case
study plasma-cut shelter’, and ‘Strategies: Case study folding as reconfigurable
and interactive installation’, in Digital Fabrication in Architecture. 2012.
W. Jones (ed.), ‘sixteen*(makers)’, in The Architect’s Sketchbook. 2011.
K. Moskow and R. Linn, ‘55/02’, in Contemporary Follies. 2012.
R. Sheil, ‘sixteen*(makers)’, in Digital Architecture: Passages through Hinterlands
(ed. R. Glynn and S. Shafiei). 2009.
R. Sheil and N. Callicott, ‘The point of production’, and R. Sheil, ‘Ways of seeing,
ways of doing’, in 55/02: A sixteen*(makers) Project Monograph
(ed. R. Sheil). 2012.

Exhibitions
55/02: A Manufactured Architecture in a Manufactured Landscape (Photographs,
models, timelapse animations). Touring exhibition: The Bartlett, UCL (Jan–Feb
2010); The Building Centre, Store Street, London (Feb–Mar 2010); University
of Nottingham School of Architecture (Mar–Apr 2010); Queen’s Hall Hexham,
Northumberland (Feb–Apr 2011).
Exhibited at Royal Academy Summer Show 2009 (‘Shelter 55/02, Factory Files’,
Selective Laser Sintering model) and 2010 (‘NW Projection: 55/02 Kielder
07.03.10 1643hrs’, illuminated print from 3D terrestrial laser scan).

40
Detail of roof canopy,
southern section
(May 2009)
44 55/02

Journal Articles/Reviews/Interviews
Architects’ Journal, Special RIBA Issue (2011); R. Waite, Architects’ Journal (May 2009);
J. Pallister, Architects’ Journal (Aug 2009); W. Jones, A10 (July/Aug 2009);
Architecture and the Built Environment (2011); W. Jones, Blueprint Magazine
(July 2009); N. Spiller, AD Architects of the Near Future (2009);
M. Stacey, Building Design (2009); E. Stathaki, Wallpaper (2009);
M. Ward, Architectural Review Australia (2011); M. Armengaud,
Interview, D’Architectures (2010).

Online references and articles with video or slideshow

2011 RIBA Awards website (2011); J. Pallister, Architects’ Journal Online (Aug 2009);
M. Wainwright, The Guardian (Oct 2009); UCL News (2010); Youtube (2000
views); J. Glancy, ‘RIBA Awards – Winners’, The Guardian (May 2011).

Lectures
‘55/02: A Manufactured Architecture in a Manufactured Landscape’: keynote speaker
at The Queen’s Hall, Hexham, Northumberland, Feb 2011.
Nick Callicott, Design Computation Symposium, Autodesk University Las Vegas,
Nov 2011.
Invited lecture (with Nick Callicott), University of Nottingham School of Architecture,
Mar 2010.
Keynote speaker at Atmosphere Conference, School of Architecture, University of
Manitoba, Winnipeg Canada, Feb 2010.
International lecture series (with Nick Callicott), The Bartlett School of Architecture
UCL, Feb 2010.
Invited lecture, School of Architecture, University of Lincoln, Mar 2009.
Dissemination / Appendix 45

Related publications by the researcher(s)

Monograph
pp. 40–87
R. Sheil (ed.), 55/02: A sixteen*(makers) Project Monograph.
Toronto: Riverside Architectural Press, 2012.

Refereed article
pp. 88–109
R. Sheil, ‘A manufactured architecture in a manufactured landscape’,
Architectural Research Quarterly 13.3/4 (2009): 200–219.

Book chapters
pp. 56–67
N. Callicott and R. Sheil, ‘The Point of production’, in 55/02: A sixteen*(makers) Project
Monograph (ed. R. Sheil). Toronto: Riverside Architectural Press, 2012: 43–65.

pp. 68–85
R. Sheil, ‘Ways of seeing, ways of doing’, in 55/02: A sixteen*(makers) Project Monograph
(ed. R. Sheil). Toronto: Riverside Architectural Press, 2012: 67–101.

pp. 110–115
Sheil, ‘sixteen*(makers)’, in Digital Architecture: Passages through Hinterlands
(ed. R. Glynn and S. Shafiei). London, 2009: 97–101.
46 55/02

Related writings by others

Award
pp. 118–120
RIBA Regional (NE) Award for Design, 2011.

Book chapters
pp. 121–124
W. Jones (ed.), ‘sixteen*(makers)’, in The Architects’ Sketchbooks. Thames & Hudson, 2011.
302–305.

pp. 125–126
N. Dunn, ‘Introduction: Digital tools and machines for fabrication’, ‘Integration: Case study
plasma-cut shelter’ and ‘Strategies: Case study folding as reconfigurable and interactive
installation’, in Digital Fabrication in Architecture. Laurence King, 2012. 24, 93.

pp. 127–133
K. Moskow and R. Linn, ‘55/02’, in Contemporary Follies. New York: Monacelli Press, 2012.
68–71.

Journal Articles
p. 134
R. Waite, ‘First Look: Adjaye and others design new Kielder shelters’, Architects’ Journal
(7 May 2009).

p. 135
W. Jones, ‘Unconventional shelter’, A10 (July/Aug 2009): 55.

pp. 136–139
W. Jones, ‘Shelter 55/02 Kielder Park’, Blueprint Magazine (July 2009): 54–57.

pp. 140–147
J. Pallister, ‘Telling Stories’, Architects’ Journal (27 Aug 2009): 22–29.

p. 148
N. Spiller, ‘Mathematics of the ideal pavilion’, in Architectures of the Near Future (ed. N. Clear),
Architectural Design 79.5 (2009): 124–125.
Appendix 47

p. 149
E. Stathaki, ‘Refuge collection’, Wallpaper Magazine (Sept 2009): 63.

pp. 150–151
M. Stacey, ‘Folding into the landscape’, Solutions: Tectonics/Steel, Building Design 1880
(14 Aug 2009): 16–17.

pp. 152–158
M. Armengaud, ‘Abbattre son jeu’, D’Architectures 190 (April 2010): 14–20.
[An interview with Bob Sheil on the design and manufacture of 55/02.]

pp. 159–162
M. Ward, ‘From homo faber to homo fabber’, Architectural Review Australia 119
(April/May 2011): 22–24.

pp. 163–167
‘55/02 Kielder Forest’, Architecture and the Built Environment 13 (Spring 2011): 15.

pp. 168–171
Architects’ Journal Special RIBA Awards Issue 2011 (16 June 2011): 42.
Featuring 55/02 by sixteen*(makers).

Online articles with video or slideshow

pp. 172–175
J. Pallister, ‘55/02, Cock Stoor, by sixteen*(makers) with Stahlbogen, Kielder Water’,
Architects’ Journal Online (27 Aug 2009), London. www.architectsjournal.co.uk/
buildings/55/02-cock-stoor-by-sixteenmakers-with-stahlbogen-kielder-water/5207296.article

p. 176
M. Wainwright and C. Thomond, ‘Kielder art trail’, The Guardian Online (21 Oct 2009):
www.guardian.co.uk/artanddesign/audioslideshow/2009/oct/21/kielder-art-trail

pp. 177–179
M. Wainwright, ‘Kielder visitors take shelter in art’, The Guardian Online (21 Oct 2009):
www.guardian.co.uk/artanddesign/2009/oct/21/kielder-reservoir-art-sculpture-shelters

pp. 180–182
‘Bartlett architects explore relationship between nature and artifice’, UCL News (25 Jan 2010):
www.ucl.ac.uk/news/news-articles/1001/10012501

p. 183
J. Glancy, ‘RIBA awards 2011: The winners — in pictures’, The Guardian Online (19 May 2011):
www.guardian.co.uk/artanddesign/gallery/2011/may/19/riba-international-awards-2011-
winners?INTCMP=SRCH
48 55/02

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by Níall McLaughlin by Patrick Weber
Architects

Refurbishment of Block N15 Façade,

Garcimuñoz Castle Olympic Village
by Izaskun Chinchilla by Níall McLaughlin
Architects Architects