A new role for the architect is taking shape as co-producing technician, organiser and planner in a highly structured, co-operative process in which clients, investors, users, and technical consultants all take part. With this new role comes a move towards a new empowerment. Boxed in by market forces and by its own need to appear in charge, the architecture of the twentieth century was driven by legitimising arguments. This ultimately undermined the continuity of the independent architectural practice (...).
This approach is pragmatic in that it deals with real social, economic and public conditions, but it is crucially an interactive pragmatism. A simple, opportunist response to what is being asked is impossible in a large-scale, multi-client project of considerable complexity. And a preconceived idea of urbanism preceding the specificities of location, program or users has become redundant. Instead, the project emerges interactively (...).
Deep Planning includes an emerging articulation of a policy of mobility and the incorporation into architecture of aspects of time. This approach is specifically intended for projects and locations that are rich in meaning, loaded with structure, and full of potential movement.(…) The combined use of automated design and animation techniques enables a working method integrating questions of user movement, urban planning, construction, and the potential for programme to develop at certain points in this web. New computational techniques make it possible to lay bare a multiplicity of layering of experiences and activate this knowledge in new ways. When mapping movement patterns, the time-programme relationship is not compartmentalised, but reflects synchronic, continuous time. Separate infrastructural layers may be classified, calculated, and tested individually, to be subsequently interwoven to achieve both effective flux and effective interaction. Temporal conditions are thus connected to programmatic themes in a simulation of the non-segmented manner in which time flows in a real situation.
An ability to grasp the process of collecting, structuring, and centralising the depth and wealth of public information puts the architect once more at the centre of his own world. The architect as a public scientist is a concept neither objective nor subjective, neither before-theory nor after-theory, neither theoretical nor opportunist. No longer dependent on the subjective value of 'talent', or the rationality of design choices, the architect co-ordinates the different parties who take up different places in the public field and uses specific tactics and techniques to once more take the radical step of offering vision.

The perpetual orientation on the water of the Venetian house generates a parade of palaces in a radial relation to the continuous quays surrounding the islands. The placement of the entrance of the new building, housing a cultural center for the University of Venice, responds to this orientation. All circulation axes of the area are directed towards the new entrance, establishing a strong diagonal relationship with the existing University building and city behind the new proposal. The central core is seen as the continuation of the public route. Diagrammatically, the linear form of the quay is sucked in, lifted straight up to form an elliptic pipe, until it ultimately spills over into the roof volume at the top, organising the distribution of the programme land from within. The strong centre is based on the organisational typology of the traditional Venetian palace, in which the big salon is the route to all other spaces.

This laboratory is conceived as a pavilion-like structure. It is dedicated to NMR, Neutron Magnetic Resonance, a research technique that analyses the structure and behaviour of proteins with the use of high frequency magnetic pulses. The new NMR-facilities require space for eight spectrometers, a console and a control board. The functioning of the magnets creates specific architectural requirements. They all generate magnetic fields of various sizes, dependent on the frequency of the magnets. These fields are sensitive to movement, types of structure, types of installation and so on. Any irregularity within particular distance from the magnets disturbs the results of the test. On the other hand the magnetic radiation also affects people, computers, credit cards, pacemakers, etcetera. Therefore the placement of magnets determines the organization of the core of the building. The magnetic radius shapes structure and surface, directs program and equipment, and affects the internal circulation.

The building consists of one horizontally directed spiral whose ends are interwoven with its middle part to generate the internal organisation. Differentiating the spiral allows for creating buffer zones between the functions as well as fulfilling the different spatial needs of the various programme parts. The spiral is conceptualised in the entire building, and thus does not reside in the sections alone. It is extended 3-dimensionally - and even 4 -dimensionally, as the element that guides movement through the building. The archetypal figure of the spiral has characteristics that are closely related to music, such as : rhythm, continuity, channelling, directionality, intersections. Central in the concept of the building is the large room that can be flexibly used as working place, concert room and music theatre. This room, which is seen as a 'black box' is reached from the main entrance on the ground floor of the south side of the building through a foyer zone that slopes up to the first floor.

With its low-slung, elongated outlines this private house forms a link between the different features of the surroundings; the spatial loop enables the house to take in the extreme aspects of the landscape. By being stretched to the maximum, rather than displaying a compact or tall shape, the house conveys from the interior the idea of a walk in the countryside (the Kröller-Müller effect). The Moebius loop, the spatial quality of which means that it is present in both plan and section, translates into the interior into a 24-hour cycle of sleeping, working and living. As the loop turns inside out the materialization follows these change-overs; glazed details and concrete structural elements swap roles as glazed facades are put in front of the concrete construction, dividing walls are made of glass and furniture such as tables and stairs are made of concrete.