TYPOLOGY: Competition / Educational, Public

COUNTRY: Germany

CITY: Frankfurt

YEAR: 2025

COMPETITION: Open ideas competition according to RPW

GFA: 6.200 sqm (new) + 14.000 sqm (existing)

CLIENT: Stadt Frankfurt

NO NEW CONSTRUCTION ON PAULSPLATZ
A cohesive ensemble that offers visitors the opportunity to explore the history and significance of democracy.

THE DEMOCRATIC LOBBY
Positioned between the Paulskirche and the New Building, the foyer serves as a central link between all functions: the Paulskirche with its historical exhibition, the New Building with its event spaces, workshops, and permanent and temporary exhibitions, and the Kämmerei with its library, laboratories, and offices.

LOCATION & URBAN DESIGN
The New Building accommodates a 368-seat event hall, temporary exhibition spaces on the lower floors, and a permanent exhibition on the upper levels. Its deliberate placement along Berliner Straße preserves the openness of Paulsplatz, fostering a compelling visual and spatial dialogue with the Paulskirche.

MATERIALITY
The solid portions of the façades of both the New Building and the Democratic Lobby are clad in red Main sandstone. Walls and roof are constructed from glued laminated timber trusses in a sandwich system, with glass layers on both interior and exterior faces. The south façade integrates approximately 600 m² of photovoltaic panels, ensuring a sustainable energy contribution.

CONSIDERED POSITIONING
The vertical circulation core (8.50 × 4.80 m) is strategically placed in front of the closed eastern façade of the former Federal Audit Office building, preventing unwanted overshadowing while maintaining clear visual connections.

A greenhouse of democracy

TYPOLOGY: Hotel

COUNTRY: Albania

CITY: Tirana

YEAR: 2016-2025

ARCHITECTS: BOLLES+WILSON with Atelier 4

PHOTOS: © BOLLES+WILSON

New HIT was the working title of this project for the Albanian investor Mr. Ram Geci – it has now been franchised to the INTERCONTINENTAL hotel chain.

THINNESS – The gold New HIT façade terminates Tirana’s central axis, the result of a 1930s regulatory plan by Geheraldo Bossio and Fernando Poggi (Italian occupation).
THINNESS – The hotel is adjacent to the grand and elegant 2017 Scanderbeg Square by the Belgians 51N4E.
THINNESS – in the east and west elevations the hotel is read as two thin slabs - black to the north and gold to the south.
LAYERING – the black slab backs the gold façade, in front of this stands the white Hotel Tirana (the tallest building in Albania under Communism). To the left is the Albanian National Museum (a gift from Russia). To the right even MDRDV’s Skanderbeg (national hero) glances sideways wishing he also could be golden.
EVOLUTION - First sketches engendering the 2 slab sandwich concept.
EVOLUTION - Inverted `V´ windows originally occupied the south façade.
EVOLUTION - These at night became a woven golden curtain.
EVOLUTION - Inverted `V´ windows with projecting cowl (sun screening)
EVOLUTION - Illuminated gold curtain - with double windows.
EVOLUTION - Windows taking in two hotel rooms are marshalled into rectangular cassettes.
EVOLUTION - WINDOW DECLINATION - Like Lucretian Clinamen the windows are in flux, swerving out of alignment with the gold façade which each illuminates with its concealed LED strip (left hand window surround).
EVOLUTION - Window details - the central coloured panels screen ventilation slits to two hotel rooms.
EVOLUTION - Ordered windows -Tirana jumble - grand mountains.
LOST IN TRANSLATION - An eight year evolution from initial concept to grand physical object is an act of translation. It is thus inevitable that certain generative ideas are lost in translation.
LOST IN TRANSLATION - The Hotel Lobby Sketch was instrumental in getting the Prime Minister’s approval, it survived much of the journey but not the appearance of an Italian interior designer who arrived when the 5 Star hotel was franchised to the INTERCONTINENTAL chain.
LOST IN TRANSLATION - This was also the fate of the BOLLES+WILSON conference hall, also the initial room gestalt.
Another Lost in Translation victim was rooftop terraces - too windy 100m up.
LOST IN TRANSLATION - The late arrival of a Casino almost engendered a gold and red staircase balanced over car park ramps.
LOST IN TRANSLATION - As Louis Kahn once noted – the drama of a building’s making is lost when complete. For the New HIT tower construction (as always) first went dramatically downwards.
When finished a tower becomes a family member in an emerging URBAN COLLAGE. From left to right – BOLLES +WILSON, MDRDV, CEBRA, Alejandro Aravena (Elemental), BOLLES+WILSON’s under construction Bazaar Gate (in the backseat).

TYPOLOGY: Competition / School

COUNTRY: German

CITY: Gescher

YEAR: 2023

COMPETITION: Closed competition, 3rd Prize

COLLABORATOR: wbp Landschaftsarchitekten GmbH, Bochum

GFA: 4.117 sqm

CLIENT: Glockenstadt Gescher

The design carefully combines the historic building fabric with a modern extension. The existing façades are preserved and linked by a central, wedge-shaped structure that forms the heart of the school with its cafeteria, auditorium, and foyer.

All areas are fully accessible, with outdoor spaces clearly defined: a large playground to the north, a nature-oriented learning zone to the southwest, and a green entrance courtyard to the southeast. The foyer serves as a central meeting point and hub, connecting classrooms, multipurpose spaces, and flexible learning areas.

The new building respects the historic architecture while reinterpreting its language in a contemporary way—creating a school that is open, functional, and identity-shaping for students, staff, and the city of Gescher.

Siteplan
Elevation south
Elevation west
section 1-1
Ground Floor Plan
Upper Floor Plan
section 2-2
Interior Perspective

TYPOLOGY: Retail

COUNTRY: German

CITY: Ahlen

YEAR: 2005

COMPETITION: Invited, 1ˢᵗ Prize

GFA: 1.460 sqm

CLIENT: Franz Kaldewei GmbH & Co. KG

PHOTOS: © Christian Richters, © 2024 Walter Knoll

TALE OF THE TUB

Kaldewei are the Mercedes of bath manufacturers. Their robust 3.5mm tubs are formed over an iron mold by robotic arms (the steel screams while being pressed into shape). Tubs are then enameled, the historic but still functioning enamel kiln is glimpsed as the conclusion of the visitor’s trajectory through the new information and exhibition center. Façade planks (wrapping both new visitor facilities, adjacent smelting plant and warehouse) are enameled in the colours used for bathtubs. Entrance is across the paved plan of the original Kaldewei family villa, nearby are terracotta vats used in the nineteenth century for transporting vitreous enamel crystals.

KKC Plan at Ground level - PROMENADE ARCHITECTURAL

The façade Screens - plunging into a tub or choosing a whirlpool bath are discrete activities. The lobby is clad in a cosy mosaic of wooden panels with integrated lights and air outlets. The promenade architectural sequence leads up past a Bizatza tiled shower niche. Below - the wardrobe lurks behind the purple memory of the absent Kaldewei family house.

KKC Plan at upper level -EXHIBITION SALON

Like Carl Andre artworks, bathtub and shower tray designs are clustered in groups of four - spot-lit minimalist sculptures. On the grey salon end-wall are coloured wax circles by artist Gro Luhn. Beyond the salon visitors look down to the firey drama of the enamel kiln.

KKC Plan at lower level – PLUNGE CELLS

Purchasing a luxury whirlpool bath is similar to buying a small car, one demands a test drive or in this case a test bath. Toweling robes are donned in changing pods before progressing to sensuous cells, each with its own gestalt and bath model. Busloads of potential customers arrive from all over Europe engendering interesting sociological observations - Germans each require new bath water while Belgians are happy to sit in the water of the previous bather. Back in the lobby a gallery exhibition of historic bath artifacts was sketched but not realized.

RRUGA ALI PASHA GUCIA

TIRANA

 

FOR CHRISTIN INVESTMENTS 2025

CONCEPT
The theme of the Vasarely Tower design is derived from the hungarian pop artist Victor Vasarely who used simple geometric shapes and strong contrasting colours. The Vasarely Museum in Aixen-Provence interprets Vasarelys paintings as a building. For our proposal the horizontal museum becomes a vertical tower.

Reference Vasarely Museum in Aix-en-Provence
The tower is based on a 12,5 m by 12,5 m plan with circular loggia, bringing daylight deep into the appartments.
Within the loggia all surfaces and windowframes are coloured pink RAL 3014 (Vasarely colour contrast).