Located at the City of Hope research and treatment center in Duarte, California, the pavilion features undulating, sinuous concrete walls that create seating areas around a century-old camphor tree. Functioning as a serene sanctuary where visitors can relax and take in the air, the pavilion features a subtle lighting system of 75 backlit LED plaques installed along the surfaces of both concrete walls.
The 7,000-square-foot project comprises two buildings with exhibition and event spaces, offices and storage areas. Drought-tolerant plant species populate the site and, together with the openness of the building, help reduce heat gain.
This building settles in plan to an irregular and tight plot which imposes its perimeter shape. For a better adjustment, the program is fragmented in to two big apartments in each level, leaving in the middle a long shaped hall which allows to change the direction, turning to find the most favorable position obeying simultaneously with a strict urban regulation regarding the setbacks and visual control towards other buildings. Its shape is also the shape of the plot.
2. Program
In section the building adapts to the high inclination of the plot, leaving the main access at street level, 4 inferior levels for parking, 13 above levels of apartments and a final level with a terrace, common areas, gardens and a pool. In the first nine floors there are ten and eight apartments of one level, and in the final four floors, four apartments of two floors and double height in the social area. The area of these apartments varies between 160 and 280m2, they are thought to be for big, conventional and families with children.
Although in plan the both built volumes have variations in their orientation, in reality its main façades and most extensive, face the strong sun of the morning and afternoon in a tropical environment without seasons and constant climatic conditions. To maintain the building in shade throughout the year longitudinal and continuous eaves have been proposed. They gain and lose depth according to the spaces they protect, always widening in the social areas and in the bedrooms and decreasing in service areas. Balconies and terraces are always located in the interior of the façade’s perimeter and the windows are always positioned in between eaves. Strategic openings have been considered to favor cross ventilation in the interior of the apartments.
Before impermeable urbanism, this buildings tries to do the opposite: instead of closing itself completely inside a control fence, its outline is exposed to the street, it can be touched and it locates in the first level the access booth and premises for a café which can be used by both the neighbors and the community in general.
From the architect. The site of two houses at Nichada Village is located in a suburban gated community in Bangkok, Thailand, where the land plot is very tight for two houses. The houses belong to two brothers, who are very close, yet, have a different lifestyle. They wish to live close to each other and spend some time together. However, they also wish to establish a private distance when they need. The architect initially began the design process by using one simple building typology and repeat it on both houses. However, once this design development get into the detail level the logic of repetition has evolved to response to a difference need of two different individual. As a result, these two houses at Nichada do look appropriately similar on the first glance, yet they can contain their own specific atmosphere once we dwell within them.
The typology of these two houses is organized in a long rectangular format. The automobile garages are located on the west at the entrance of the houses, and the main double volume living area is on the east at the end of the houses. Then, programs such as foyers, dining area, kitchens, toilets, and guess bedrooms are place in between the garages and the living area to perform as a transition from the outside as we move further inward to house. The main master bedrooms are placed on top of these transitional area allowing a direct visual dialogue to the main living area. Both of houses are visually connected as one big living room through the large sliding doors on both house, and they are marked the edge of the house by single flight stairs. Basically, these two house share this repetitive logical organization.
Cross Section Houses A/B
However, in sense of dwelling, these two houses contain a different atmosphere which reflect the character of the owner. The white and blue house is belong to the elder brother, a professional golfer who enjoys outdoor lifestyle but also love to be in a solitude atmosphere. He wishes to spend most of his time working, dining, and relaxing around the living area, and only wish to retreat to a bedroom at late night. To achieve the wish of the client, the architect decided to make a large opening on both the north and the east of the living area in order to let the light to cast through the large double volume white brick wall, the main core element of this house. The other elements both brick and blue color wall, are chosen to work as a subtle contrast effect between calm and vibrant atmosphere.
The dark brown house, on the contrary, reflects a different character of the younger brother, a night club entrepreneur who love to party. From the beginning, he expressed his desire to dwell in a dark raw industrial like atmosphere, but the house should also be cozy as well. Again, to achieve his wish, the architect repeatedly uses light as a tool to define the atmosphere of this house, but at this time, he intend to cast the light in order to create a subtle dramatic affect for this house. First due to its position where the living area has to face the south side in order to visually connect with the elder brother’s house, it is not proper to exactly repeat the double volume glazing similar to elder’s brother sliding door. A large corner opening sliding door at the lower level and the solid blank wall with few opening at the top level of the living room was used to maintain the concept of connection between the two houses. On the other sides of the top part of the living area, rather than a large opening window similar to the elder’s brother house, few narrow opening were used to control amount of sunlight to create a lantern effect to this room. In return, rather than providing a grand monumental effect like the white and blue house, the details of this dark brown house have shape the house to be more in a subtle dynamic mood.
Though these two house initially begin its design process by adapting the same building typology, however with a careful concern to the individual personality of the dwellers, the site’s climate and contextual, this one building typology will gradually transform to response the specific needs of the requirement. The architect strongly believe that this design approach can allow the architect to establish the coexisting relationship between being unique and being uniform all together.
US firm Lake Flato has built a waterfront retreat in Austin, Texas, featuring a two-storey porch and a slender lap pool that runs alongside the home (+ slideshow). (more…)
At the UTFSM in Valparaíso, Chile, architect Verónica Arcos developed a first-year studio centered around the theme of "materiality."
Based on an application of math and geometry in the study of Mexican architect Félix Candela's work, the workshop sought to "put form in crisis and take it to its maximum expression."
The workshop had both a theoretical and practical focus. First, the architect's biography was explored, which allowed students to grasp Candela's interests and context--such as the basic principles that supported his method of working. The idea was to understand the "laws" (like the ruled surface) that governed Candela's projects, and to then propose new structures that follow the same principles.
The students developed six projects through physical and digital models, which were then constructed at 1:1 scale in the Parque Universitario del Santuario Quebrada Verde, to the south of the city of Valparaíso.
Make captures dynamic movement while keeping the noise down.:
How does one embody the movement and energy of performance in a static form? Jess Mullen-Carey and Bill Beauter of the firm Make Architecture conceived of a metal diagrid-patterned facade with a ceiling of extruded pendants and glass-covered skylights for the Pacific Amphitheatre in Costa Mesa, California, as a dynamic entry space. The result is a perforated metal skin that, much like a theater curtain, appears to float up from the ground.
Originally built as a stand-alone facility on the 150-acre Orange County Fairgrounds, the Pacific Amphitheatre remained somewhat aloof from the r (Continue reading.)
Casa del Ancantilado (literally, Cliff House) is located high above the Mediterranean sea in Salobrena, Spain. Part Gaudi, part Hobbit - there's something about this house that keeps us coming back for another peek. Designed by Gilbartolome Architects, there's no denying it's a masterpiece. It was a very ambitious project, given the 42º slope of the hill. Buried into that steep slope, the house maintains an ambient temperature of approximately 72 degrees (20 Celsius) year-round.
Casa del Encantilado looks almost like a dragon coming out of its lair.
The eyes hold the bedrooms - and the glass balconies.
Three bedrooms each have a glass balcony facing the magnificent Mediterranean.
What a view! We'd be happy to wake up to this every morning.
The roof is metal mesh with zinc shingles - a fully bespoke creation.
A cantilevered terrace holds an infinity pool - and the view certainly is to infinity.
The architects worked with the lay of the land to create an interior like no other.
At a 42º angle, the home had to be built into the hill in order to minimize costs. But the embedding of the house allowed for so much more than a reasonable budget - it turned the home into a one-of-a-kind creation.
From every angle, the home is unique and intriguing.
Buried in the slope, the house is covered by a curved blade of reinforced concrete.
Check out those light tubes / skylight installations. Could anything be more avant-garde? The main social zone can hold 70 people auditorium style.
The curves continue throughout the house.
The house is on two floors, with a long terraced hall.
Substantial parties can be hosted in the main room. Such a futuristic look, with the built-in molded furniture and green plants.
The curved concrete reinforcement with its zinc scales looks like the arm of a dragon, especially at night.
Casa del Ancantilado, or Cliff House, has certainly earned its name.
Justin McGuirk’s Radical Cities: Across Latin America in Search of a New Architectureshould be required reading for anyone looking for ways out of the bleak social inequality we’re stuck in. There were 40 million more slum dwellers worldwide in 2012 than there were in 2010, according to the UN. Private markets clearly can’t provide universal housing in any way approaching efficiency, and governments are often hostile to the poor. The only alternative is collective action at the grassroots level, and I’ve never read more vivid reporting on the subject.
McGuirk is well aware of the factors working against serious housing reform. Decades of austerity imposed on poor countries by powerful actors like the International Monetary Fund have straitjacketed social-housing efforts. Even in affluent places, the cavalry of the central state isn’t coming, except maybe to spur more gentrification-led displacements. In a decentralized, stateless age, provincial and local officials—more importantly, citizens themselves—must figure out their own ways to more humanely reconfigure living conditions in cities.
No wonder Radical Cities looks to Latin America, whose ballot-box revolutions largely rejected austerity politics and, at the very least, created space for community activists to go their own ways. Moving beyond the hyper-individuated cult of the starchitect, the designers McGuirk profiles take activist stances, with or without the help of the state. In some cases, communities even reshape their own aesthetics without architects. These are new experiments in direct democratic control over resources, community engagement, and shared space.
This short review can’t do justice to all the examples so lucidly debated inRadical Cities, but here are some snippets. In Santiago, the design firm Elemental maximizes scarce government subsidies by building “half houses” that residents can upgrade over time. In Argentina, the indigenous cooperative Túpac Amaru builds houses four times faster than private construction companies, at less than one-fifth the cost. The organization complements its work with everything from hospitals to schools to public swimming pools. At the same time, it cultivates community solidarity and political activism among its members.
And then there’s Caracas, where residents forged a housing cooperative in the Torre David, an abandoned corporate office tower in the heart of the city’s business district. McGuirk points out that while Hugo Chavez’s reforms did little to change the city’s inhospitable built environment, they did provide cover for these 3,000 well-organized residents asserting squatter’s rights. This means harsh but improving conditions in a DIY fashion, where socialist reforms enabled residents (at least temporarily) to gradually establish middle-class trappings in perhaps the world’s tallest slum.
The otherwise modern tower lacks working elevators for its 28 occupied floors (imagine stepping out of the apartment for groceries). The cooperative had a distinctive payment system, ostensibly rewarding residents for the labor they put into their units rather than for the market value of each apartment. Then again, recent events underscore the reality that improved conditions through informal housing upgrades are precarious. Last summer, the government began resettling former residents of Torre David, and the building’s future, either as a housing development or office high rise, is uncertain.
Much has deservedly been written about Antanas Mockus, Bogotá’s wonderfully nonconformist former mayor. Mockus’s campaigns to improve traffic safety, reduce violence, and integrate the city via affordable public transit are well worth revisiting as current mayors like New York’s Bill de Blasio try to foment progressive change on shoestring budgets. We learn that Mockus’s philosophy derives in part from Stanley Milgram’s obedience studies, though Mockus prefers the termcoexistence through established rules. As a case in point, he once commissioned an army of mime artists to enforce traffic laws.
You might observe by now that the cases explored here are not all that radical. None of them change the rules of the game in a world housing market that leaves 863 million people in slums. In fairness, it’s worth remembering that all this collective action comes in the context of a world where a seemingly immovable one percent controls about as much wealth as the other 99 percent. Vanguard design principles can’t renegotiate the World Trade Organization, restore progressive taxation, or rebuild welfare states.
On the other hand, radical urban innovators demonstrate just how subversive grassroots architectural efforts can be. Inclusive planning can create pathways into the heart of a city for the formerly excluded (as Bogotá’s path-breaking Transmilenio bus system does). It can renegotiate the unequal terms of private ownership, giving those with nothing the ability to acquire unused property (as did the residents of Torre David). It can foster community solidarity, laying the groundwork for political action based on shared interests (which Túpac Amaru pioneers, in part through the creation of shared spaces to promote social engagement).
Granted, social change on this steeply unequal planet can only be fragmentary. Radical Cities gives us hopeful fragments.
From the architect. The Centre for Visual Arts in Dordrecht In cooperation with the Amsterdam design bureau Carve invited 10 European design firms to develop inventive, resourceful and multi-age friendly playful objects to complete the design for the new public space, the Governeursplein square in the city of Dordrecht. Ecosistema Urbano’s “energy carousel” was one of the winning proposals chosen to be implemented.
Dordrecht Energy Carousel exploring playground potential.A chandelier of hanging ropes. a shelter, an iconic meeting place for different age groups, that swivels, and produces energy to turn into colored light in the evenings…
As a forest of revolving rope swings that hang at different lengths, the hanging rope seats towards the center of the structure accommodate smaller, younger children, while taller, older children may grab onto the shorter ropes on the outside. The kinetic energy that is released by the children’s hanging and turning on the ropes is captured via carousel structure and stored in a battery underneath the play site.
When the park begins to lose light, the carousel’s battery supplies energy to light up the structure. When the speed of play increases, the lamps will light up brighter. The color of the lights also changes according to how much energy has been generated by the children on any particular day.
Ecosistema Urbano has designed this play structure with two particular focuses in mind. The first is to promote education through play, teaching children about alternative methods for generating electrical power with their own physical experience. Second, was to use efficient materials that also serve to highlight the project’s unique design. The LED lights use a minimal amount of energy. The structure, unlike most play structures, uses a limited amount of steel – Its body is instead a tensegrity structure formed with cables and steel rings. The textile roof fabric protects children against rain and bright sunlight, and boasts a swirl pattern to accent the movement-to-energy potential of the structure.
We believe that through projects that emphasize the ecological pedagogy, we can send to the next generation of citizens a subtle message about the potential for creative and a more sustainable approach to urban design
Architects: FMD Architects
Location: Melbourne VIC, Australia
Design Team: Fiona Dunin, Andrew Carija, Robert Kolak
Year: 2013
Photographs: Peter Bennetts
From the architect. The site is a single storey terrace on a small 5m wide block in the inner city of Melbourne. The brief was to create new Living and Dining spaces, relocate the existing kitchen and bathrooms and improve access to natural light in the main living and main bedroom areas. The existing Victorian eastern end of the house containing 2 bedrooms was to remain and be refurbished.
The functional requirements of the client were simple. The only particular requirement was to find a place in the design for 3 tapestries of houses that her mother had made.
Our design strategy is always to celebrate the particularities of the project, so while exploring the tradition of tapestry and stitching techniques, the concept of stitching the new house form to the old established the design approach.
The timber beams form the thread which stitches the new living room to the existing house, then beyond to the western courtyard. The timber beams at the northern point converge into a large timber column, reminiscent of a bobbin thread. Within the courtyard a mirror is positioned strategically at the end of the threads to extend the space and create a sense of unravelling (while concealing the services of the building). The timber threads twist over the western façade to provide added shading to the Living area which will soon be overgrown over by greenery.
Architects: Architect 11
Architect In Charge: Eero Endjärv
Interior Architect: Hannelore Kääramees
Area: 51.4 sqm
Year: 2013
Photographs: Courtesy of Architect 11
From the architect. The house is designed as an addition for possible existing house of the same series already on the plot, to be a garden sauna, guesthouse or shed. Or it can be independent development – a summer cottage with sauna; a guesthouse, beach house. It has two versions for functional layout – one with larger sauna and other with main bedroom instead sauna.
Design of this model is part of larger concept and is intended to match with larger houses in same series. The whole model range at the moment is about 10 different layouts and sizes, starting from 40 sqm sauna and ending with 500 sqm villa. This number will grow as there will be more variety that needs to be covered.
Design of the series has grown out from a concept to mix a prefab structural insulated envelope with on-site reinforced concrete. During developement we decided to go for faster installation times on site – the intention is to minimize the time and works on plot. This approach allows to have lesser impact for nature, most of the works can be done in controlled environment regardless of weather conditions, installers have to spend less time on farther locations and factory environment allows some level of automated or parallel tasks to be fulfilled that are not possible by building it on site.
This series will enter into fierce and competitive prefab market. It is designed to fulfill the energy consuption requirements in nordic countries, even snow load requirements up to 3 kN. Houses are equipped with high standard ventilation systems, full automation and management systems, they are designed to utilize a solar heating during spring and autumn, have shelter from sun during summer months, thus not requiring a cooling system. Used building materials are in most parts wood, walls are vapour permeable and facades are ventilated. Structural frame is made of glulam, walls have rockwool insulation, internal walls are made of cross-laminated-timber panels, windows are wood-aluminium and furmiture is either painted or laminated MDF boards.
The design concept is intended to have more similarities with stone or concrete house than traditional wooden house. From original reinforced concrete design we maintained this simple form and ideology – the internal insulated structure has few tasks – keep warm and be able to support itself. Outer exosceleton would withstand all forces – wind, snow, rain – give shelter against sun and so forth. Same idea has been developed also in here – the outer form – stone-clad facade and cantilevered roof on top of the terrace – will act like protective shell for softer and warmer interior. The resulting form is one design element that is defining the architectural language for the whole series. With this approach most of different house models can be combined with each other, put up in groups or have expansions like this small sauna house.
Architects: WOHA
Location: 48 N Canal Rd, Singapore
Project Team: Wong Mun Summ, Richard Hassell, Ang Chow Hwee, Daniel Fung, Dennis P. Formalejo, Christina Ong, Eric Barthole
Area: 1,370 sqm
Year: 2012
Photographs: Patrick Bingham-Hall
Client: Maybank Kim Eng Properties Pte Ltd
Project Manager: Hong How Projects Pte Ltd
Civil & Structural Engineering: CP Lim & Partners
Mechanical & Electrical Engineering: Squire Mech Pte Ltd
Quantity Surveyors: Langdon & Seah Singapore Pte Ltd
Landscape Consultant: Coen International Pte Ltd
Main Contractor: Takenaka Corporation
Site Area: 326 sqm
The project brief called for a new boutique office and the reconstruction of a pair of heritage-listed shophouses. WOHA was commissioned only after their demolition to reconstruct the shopfront (up to 7.5m depth) in accordance with Singapore’s Urban Redevelopment Authority’s conservation and planning guidelines, and to design an entirely new, contemporary rear wing.
As the original floor levels with their low ceiling heights were retained, the front end of the shophouses was deemed more suitable for meeting rooms, while the service end accommodated a mechanised carpark. The idea was to strategically lift up the open plan offices within the upper 4 floors where the floor plate size is maximised, higher headroom is gained, better views are enjoyed and more natural daylight is accessed from the sides. Every flat roof area is also transformed into roof gardens with the attic featuring the office’s recreational lounge from which unblocked panoramic views of Hong Lim Park and PARKROYAL on Pickering Hotel can be enjoyed.
Unlike a typical internalised courtyard, the main design strategy was to invert the shophouse typology by carving out valuable floor area to create an externalised, urban, public pocket park at the very heart of the office instead. A café, break-out areas and meeting rooms are organised around this park, enjoying the greenery and light that it brings to the deep plan. This public gesture further serves to reduce the intermediate scale of the 9-storey building to a more intimate, human scale at the pocket park below.
The formal architectural language of fractal, triangulated geometry originated from the need to comply with authority requirements of having splayed corners as the building is bounded by three roads. This inspired a chiselled expression that was carried through in both plan and elevation, taking the form of internal angled walls and external slanted planes, revealing a concave curtain wall like that of crystal embedded in the hollow lower strata of its atrium park space. Shading was also built into the formal language by means of an integrated sun screen within the curtain wall system and a series of perforated aluminium panels.
CAEaCLAVELES is a residential and hotel project developed by the studio longo+roldan architects together with artist Emma Fernandez Granada. Winner of Asturias Award for Architecture 2012, the project arises from the search to preserve the permanence of landscape features on which to act through a symbiotic architecture with the environment and linked to the characteristic features of the area.
The small and unique building stands on a plot of 8000 square meters, located in La Pereda, in Llanes, Asturias. It is a privileged natural environment composed of the protected landscape of the East Coast of the Sierra del Cuera, parallel to the sea, with predominantly karst nature with numerous and mild slopes.
To reduce the impact on the environment, the building is adapted to the particular topography recreating a hill similar to the existing ones, conceived as an organic volume whose interior space is projected in relation to the surrounding vegetation and open to the forests around. Thus, the landscape flows through the exterior glass envelope of this volume.
The structure is a single volume containing both uses and is primarily defined by a concrete slab, curved in the shape of a helix, which supports the roof garden that defines this project of landscape integration. Intended to be used as a planting area, the roof garden acts as a natural extension of the ground, that is, regaining that ground surface. A load bearing wall, also curved with vertical aluminum profiles, separates the housing-hotel spaces.
The intended purpose of the project is to provide travelers with a tourism alternative that seeks to promote understanding the natural environment and its conservation, based on sustainable tourism development centered on the respect and enjoyment of environmental areas. The difference in this case lies on our effort to surpass the dominant concepts in these kinds of projects that deplete the relationship between rural tourism – popular architecture – tradition, to move on to develop a model that associates the necessary new relationships between rural tourism – contemporary architecture – environmental culture.
The result is an architectural proposal that is completely organic in its shapes and in its envelope. A synthesis between delicacy and geometric strength, in which architecture and landscape are mixed due to the contrast between the weightlessness of the concrete slab that supports the roof and the lightness of the glass enclosures.
Owner: Francisco Valdés, Sara Bertrand
Materials: Wood for structures, interior finishes and door and window frames. Zinc for exterior finishes.
Surface Areas: Interior: 300 sqm / Terraces: 80 sqm
Collaborator: María Teresa De La Fuente Castellón
Structures: Eugenio Ortúzar
Site Management: Eugenio Ortúzar, Francisco Valdes
Pedro Montt is a neighborhood on stilts in the city of Castro, Chiloe. It is one of the oldest and most characteristic neighborhoods of the city and of Chile. It takes over the sea, where there are no regulations, only internal codes of a community that has existed for years on the waterfront, over the sea, showcasing a way of living and a culture.
The city of Castro is undergoing rapid changes, many of them related to tourism and thus, this neighborhood on stilts begins to emerge as one of the most attractive places for visitors to the island of Chiloe. Different tourism-related private enterprises strongly revitalize a degraded neighborhood, exonerated and marginal for the local authorities. This is countered by the neighborhood’s strength and charm, which attracts many travelers from different parts of the world with an unprejudiced view towards cultural identity.
Private initiatives allow many of the buildings currently neglected or extremely deteriorated, to be reused, recovered or reinvented, for the traditional neighborhood, the hostels and travelers to coexist.
This has produced a sociological phenomenon that we have seen in the course of a couple of years after the completion of the work, a unique “self revitalization”, from the people to their neighborhood.
This phenomenon, which we may have already seen in other places in Chile such as Valparaiso, has allowed this community to reconsider their own space, in a tangential manner and without any state support. The neighborhood was always viewed as marginal and poor, but the respect from people external to their environment has stimulated the community to care for their common space and housing.
The commission of the project was, by request of the owner, to design a boutique hotel as an experience to live Chiloe, preserving the ancient stilt space, where all the bedrooms would overlook the Castro estuary, and where the tides were always present in every corner of the project.
Thus arises the idea of making a stilt landscape out of different stilts, laid out around the seaside life in a collage composition that yields different colors, shapes, and textures, specific to their environment.
A central circulation enhanced by a linear skylight leads into the different rooms that are arranged linearly, successively crossing the various “thresholds of the sea”, which is where one observes the tide from inside the stilts. It finally concludes at the beginning of the project, a living room, by the fire, which welcomes guests for the encounter of Chiloe culture.
The 2013 Architecture Film Festival Rotterdam (AFFR), which focuses around the theme, ‘Time Machine,’ is set to take place in the cinemas of LantarenVenster October 10-13. The event will all be about evaluating the past and dreaming about the future. This will be done with movies, lots of movies, in which ‘the world called city’ is the leading character. The festival will also hosts television series, debates and talk shows. More information after the break.
The poster of the AFFR 2013 shows an image of an actress in a stage costume, set against a backdrop of cranes and high-rise buildings. A surreal still, taken from the movie Estate. In this film a group of residents are followed within the context of a participation project. The residents are acting in a play about their neighborhood in London, which is in transformation. Estate is one of the films screened at the AFFR symbolizing that one time period is closed while another one opens.
It symbolizes the times we live in, times in transformation. Times in which we are very well aware of past and future. There is a lot of vacancy in cities and both the value and the meaning of buildings are in dispute. Movies like Unfinished Italy, Reconversão and Unfinished Spaces focus on the life cycle of a building. The movies are picturing both the phases of newly built projects and underused or reallocated places.
But the time machine also takes us back in time. The film Drop City, for example, takes you to the seventies, when hippies and dropouts set out for their own idealistic society. Drop City was a lively experimental settlement full of dome buildings inspired by Buckminster Fuller. In 1973 it was abandoned and since then it is a ghost town. In total, the AFFR will screen about 100 movies; new films, cult classics, animations and documentaries. There’s one thing the films have in common: that’s architecture and ‘the city’.
Tickets are € 9 (regular) / € 7.50 (public transport card, cardholders CJP or 65 +) / € 25 (day pass). The presale starts on September 29. Tickets are available at the box office of LantarenVenster (010-2772277). There are also packages with hotel stay and day pass book.
The AFFR has been made possible by the municipality of Rotterdam, the Creative Industries Fund, the Dutch Film Fund, the VSB Fund, the Prins Bernhard Cultuurfonds, the SNS REAAL Fund and Stichting Volkskracht.
