The plant research center, consisting of an office, marginal field labs, greenhouses and integral test areas for modern and digitally optimized agriculture, is to be built on the site of a former equestrian farm on the southeastern edge of the village of Morschenich. For the most part, the various uses will be accommodated in the existing building for this purpose. New additions include two greenhouse hybrids, which will be expanded to include the function of workshop and conference spaces. As a house-within-a-house, they will use the greenhouse as a climatic envelope.

The existing building will be partly extended with roof overhangs as sun protection as well as green roofs and green facades. The volume of the former riding arena is broken through to create clearly defined zones and provide a passage to the guest house. For the guest house, which can accommodate up to eight researchers, an existing neighboring building will be reactivated and climatically optimized with a polycarbonate shell.

A community house for Morschenich’s new residents will be established in the existing lunge rotunda, which, in addition to its small growing area for communal gardening, will provide the growing community with a place for fellowship.

L'ATELIER DES JOURNALISTES

In the heart of Paris, a center for journalistic craftsmanship is being created. The “Workshop of Journalists” opens up the editorial creative process and brings the work of exiled journalists into the spotlight of public interest. The project brings the press and society together, providing a space for exchange, learning, and communal discourse.

While the media center with its public functions prominently faces Pont Alexandre III and the grand axis, the press house, embedded within a grove of trees, steps back from the openness of the Esplanade. A square between the two buildings forms the interface between the editorial work and the public.

The press house houses an open workspace that reflects the entire editorial process, from research to publication. Content developed there is directly exhibited in the media center, bringing it immediately to the public.

The building is divided into two functional zones, with an open and communicative community space in between. Generous voids and inserted light courts allow visual connections across all floors. The vibrant center strengthens the sense of community and creates a cooperative atmosphere.

The facade of the media center is covered with a skin inspired by a newspaper, utilizing the central location to display current works to the public. Behind it, four column-free double floors provide a framework for flexible and free usage, allowing a high degree of appropriation by journalists. An open ground floor allows integration with the urban space, offering a place for professionals and interested citizens to engage. Here, they can immerse themselves in exhibitions, informational events, and discussion forums, fostering conversations with the exiled journalists.

The “Atelier des Journalistes” functions as a real-world laboratory. Exiled journalists find not only all the tools they need for their work and the implementation of their ideas but also a temporary home, community, and connections with the people of their host country.

THE SPEAKING HOUSE

In the pulsating heart of Paris, reminiscent of a hyalite embedded in a fluid landscape, rises an architectural symbol that redefines journalism: The Speaking House.

A cube of radical modernity, it aims to restore society's trust in journalism and forge a closer bond between people and the news. The building has been thoughtfully placed between the majestic Eiffel Tower, a symbol of societal centrism, and the National Assembly, the political epicenter of Paris. Here, the cube unfolds its architectural presence, embedded in the urban fabric and the duality of its role as the fourth estate of the media.

The translucent facade of the “Speaking House” opens up the world of journalism, making it tangible and accessible. The glass shells provide views into the busy editorial work, giving society a sense of being part of the creative process within. The press house thus becomes the showcase of journalism, working to regain the public’s trust.

The multifunctional concept of the cube is an architectural statement. Besides editorial offices, it houses public areas that invite encounters and discussions. A reading corner, a bookstore, and exhibition spaces for journalistic photography give the house a dynamic, multi-layered character. Here, a place of dialogue emerges, where journalism is not just about informing but also about being co-created by society.

The architecture of the “Speaking House” emphasizes the complexity of journalism as a cube with many facets. In the urban architecture of Paris, it rises as a solitaire, attracting attention with its expressively designed wood and glass structure. It combines functionality with aesthetics, allowing the internal landscape of the building to shine with clear lines and open spaces.

Inside, a vibrant and mixed atmosphere unfolds. The highly flexible work and learning spaces, spread over seven floors, are interconnected both vertically and horizontally. Through open floor plans and various types of stairs, a tangled landscape is created that mirrors the flow of journalistic information from point A to point B. Soundproof curtains allow individual customization of the workspaces, while the atrium stands as a symbol of free journalism, bringing light into the heart of the cube.

The building’s outer appearance reveals a clear facade, whose translucent glass provides visual security and pours a uniform light inside. By night, the cube shines and communicates with its surroundings through its facade, while the environment speaks to it. Its light permeates the night like a guiding star, drawing people in and promising knowledge and insight. The building fulfills its purpose as a press house by equipping people in a pluralistic political world with the information they need to orient themselves and form their own opinions. In the words of Victor Hugo: “The language of light is universal. It unveils the truth and strengthens the knowledge society needs to face the challenges of the time.”

This architectural work creates an open and flexible environment, welcoming visitors from all over the world and inviting them to experience the life of journalists and connect with them. It is a place where journalism comes to life, where social interaction brings journalism and society together in a symbiotic relationship.

The “Speaking House” is more than just a building. It is a manifesto for interactive journalism, a place that embodies the value of freedom of speech and bridges the gap between the news and the people. A place where journalism is not only written but lived, to restore society’s trust and strengthen journalism as an indispensable pillar of our democracy.

An Atrium for the Press in Paris

The site of the international “Maison des Journalistes Sans Frontières” in Paris serves as both the conclusion and the beginning of the Esplanade des Invalides.

As a place for dialogue, but also retreat and contemplative work, the planned complex functions as an open house. In search of an identity-building typology that acknowledges the significance of the building, a solitaire was chosen to house the press house, while a more withdrawn residential block, facing the block edge, was decided upon. The press house, oriented on all sides and characterized by its slanting form, extends the existing tree grove towards the Seine and positions itself assertively, without taking up the existing block boundaries.

Approaching the building, one first passes under the deeply slanted, shingle-covered facade, which almost functions as a slanted roof, and enters the spacious transparent ground floor. This serves not only as an arrival point but also houses the press forum at its center—the heart of the press house.

The forum, and its gradation in height, which can be overcome via stairs and ramps, forms the introduction to a building that develops upward around a central, wedge-shaped atrium. The light-filled atrium allows visual connections and social communication across different levels and functions. In contrast to this openness inside, the facade of glass shingles creates a sculptural and translucent shell, focusing on its role as a communal and communicative house.

A wooden load-bearing structure was chosen, which is only replaced by concrete in the solid cores and the eight supporting pillars. The ceiling, spanning between the massive outer wooden wall and the four central wooden supports, is left as an exposed wooden beam ceiling, emphasizing the upward expansion of the atrium.

The Garden of Journalists

The garden is the central motif in my design; it creates a space for retreat, gathering, and free thinking, at the heart of bustling Paris. The building site lies on one of Paris's central axes, between the Invalides Dome and the Seine, opposite Gare des Invalides, with a view over the river towards the Grand Palais. A prominent location for such an important design concept.

The project addresses the idea of an international press center, where a large forum will be created, alongside a journalism academy, housing, and workspaces for exiled journalists from around the world.

To meet the diverse functions of the press center, I decided to divide the mass into two building volumes. At the southern edge of the plot lies a public building housing the international press center, while at the northern edge is a second building dedicated to the work and housing of journalists. Between the two buildings stretches the large garden, which acts as a connecting element and the heart of the design.

The combination of minimalist living, collaborative working, cultivating knowledge, and exchanging ideas reminds me of life and structures in a modern monastery. Like a monastery, it is a place for rest, retreat, and replenishment of energy, but also for work and further education. For this reason, I incorporated elements from the classic monastery typology, such as the cloister, into my design.

The entire complex stands on a base that is firmly anchored to the ground. The ground floor zone is closed off from the outside, but above this base, one can glimpse life within. The plot is entered through one of two openings in the base. These are easily recognizable by their distinctive roofs, which attract visitors with their unusual form. Once the visitor has passed beneath the roof, they enter a new world. The deep overhanging roof draws the eye toward the green of the garden.

Along the base, there are benches for sitting and reflecting, offering an opportunity to absorb the tranquility of the garden. The garden is intentionally diverse and sustainable, with planting designed to withstand future climate challenges. Various grasses, flowers, and shrubs that bloom throughout the year provide a home for insects, such as bees.

In the garden, there is a small open-air café where visitors can sit on the grass or on one of many chairs that can be flexibly placed throughout the site, enjoying the green paradise. The space is open to all and encourages interaction between journalists, visitors, tourists, and locals.

Along the garden, visitors move protected under the roofs towards the buildings. At the corners of the garden, the entrances to the respective buildings are located. In the northern building, near the Seine and the Gare des Invalides, is the international press center. Upon entering the building, visitors are once again introduced to a new world. A large, light-filled space opens up. Already on the ground floor, one can experience the height and atmosphere of the building through the large garden-facing facade. The back of the building houses all the necessary service rooms, while the front part is free for use. On the ground floor, there is the press café, an exhibition area, and ample space for small events or casual gatherings. The exhibition, café, and small shop function as a symbiotic entity, adaptable and reshaped as needed.

A large spiral staircase leads to the first floor, where workspaces, offices, and an open library are located. The open layout allows for group work or quiet study. The open volume over all floors provides a constant view of the slanted facade and the garden behind it. The second floor houses the international press forum, a large, multifunctional space for discussions, lectures, or press sessions. Movable seating elements allow for flexible configurations of the room. In the far corners of the building, additional staircases lead to the control rooms and interpreter booths located in the roof space.

At the southern edge of the site stands the second building, also accessed from the garden, and similar in design. In the part of the building facing the garden, there are workspaces, meeting rooms, and a print workshop. At the back, on the ground floor, are enclosed studios, and above, in the next three floors, are the living units for exiled journalists. The concept of living here is closely tied to working. There are small rooms with showers for each resident and communal kitchens for cooking together. The living units are directly connected to the galleries, which serve as communal spaces for work and exchange. The open floor plan in both buildings allows for easy interaction between the residents across all floors. On the top floor, there are additional communal spaces dedicated to leisure, including a large kitchen and spacious lounge area. The living units are oriented south and have continuous loggias along the entire facade, which residents can use as private outdoor spaces. This part of the building is more closely aligned with the neighboring residential area, following the line of adjacent buildings and connecting to the neighborhood’s life. From the loggias, one has a view of the greenery and the opposite tree grove.

The materiality of the building visibly reflects the structure. The building stands on a stable concrete base, which defines the plot and establishes an urban scale. Above this is the ground floor, wrapped in shimmering silver chromed nickel trapezoidal sheet metal. This continuous cladding reinforces the unity of the entire ground floor as the base. Rising above the base are the two building volumes on either side of the garden, finished in a solid red color. A lattice of red-stained wood meets large glass panels with red sun-shading elements. The monochromatic red color gives the buildings a sculptural quality, standing out visually from the surrounding architecture and the greenery of the garden. This is further accentuated by the slanted facade facing the garden. The buildings appear to lean back from the garden, playing with the relationship between the interior and exterior space. The angular facade is broken up by large round windows, lending the massive structure a playful quality. The building is topped with a slanted trapezoidal sheet metal roof, which overhangs slightly on all sides, appearing to float gently above the structure. The shiny roof, with its playfully curved edge, mirrors the base. The roof of the covered walkway in the garden is also finished in the same shiny trapezoidal sheet metal, and the interior is designed with red-stained wood.

Upon entering the building, the red accents become more subtle, with the red exterior sun protection panels casting a warm glow through the windows, while carefully chosen red furniture pieces create highlights. The interior features light wood finishes, and the massive wooden supports are visible in many places, with walls clad in waxed veneer. Railings are either made from nets or custom-built furniture elements. Along the galleries, there are integrated tables, shelves, and plant boxes, allowing one to sit inside while maintaining a direct connection to the garden.

Notably, the large post-and-beam facade features 80 x 20 cm slanted supports, which become a defining element of the interior. These are rigidly connected to the equally tall rafters of the shed roof, above which lies the structural ceiling. The narrower beams recede in comparison to the supporting framework, allowing the building's load-bearing structure to stand out. The intermediate floors are supported by double beams, and the enclosed rooms have suspended ceilings for infrastructure and good acoustics. The flooring throughout the building is polished concrete, creating a seamless connection between the outside and the interior.

The Design Concept:

The design is oriented around the existing grove of trees and consists of three building parts surrounding a sunken courtyard, forming a cohesive ensemble. Three large staircases, located to the north, west, and east, guide visitors and staff into the sunken courtyard, which acts as the central circulation element, distributing users while also serving as a social space.

To the west, the curving forum connects with a foyer, café, and shop. The rounded shape of the forum, in contrast to lecture halls and auditoriums, deliberately promotes critical conversation and encourages exchange and discussion. Above the forum, connected by multiple galleries, are exhibition spaces, a conference room, seminar and workshop areas, and a library offering views over the Seine and the Grand Palais.

The academy and workspace are located on the opposite side, forming the high point of the complex. The open layout of this area supports a collaborative working environment and also invites interaction. Various workspaces and niches provide opportunities for contemplative work, depending on need and situation. Multiple galleries and inserted intermediate floors create different scales of space within the building, offering engaging places for interaction. Above the editorial hall and newsroom is the top floor, which slightly extends beyond the neighboring buildings, housing the TV studio with sweeping views of Paris, including the Eiffel Tower.

To the south, along the grove of trees, a residential block with simple maisonette apartments completes the ensemble. This section provides temporary accommodation for persecuted and exiled journalists from around the world.

The 'Maison des Journalistes' is built with a light and transparent wooden frame structure featuring a high proportion of glass, resting on a solid rammed earth base. Surrounding the buildings are colonnades that serve as circulation paths to access the residential units.

TOIT SUR LA TÊTE | DACH ÜBER DEM KOPF

As a new space for promoting press freedom and dialogue, this design for a “Maison des Journalistes sans Frontières” primarily addresses the connection between security and communication. The result is to provide exiled journalists with a “roof over their heads” that unites private and public spaces “under one roof.” The new press house, therefore, features an elevated roof form that symbolizes the protective function a house for exiled journalists must fulfill.

The roof is interrupted in the center, creating a courtyard that positions the nucleus and core of the building as a public component, which extends above and below the roof. Thus, a two-part ensemble is formed, consisting of an introverted roof and a through-penetrating round structure, which serves as the link to the public.

At the front corner of the Esplanade des Invalides in Paris, the new building emerges, extending from the existing building edge, as a counterpoint to the Gare des Invalides on the plot. The proportions and divisions of the design take into account the very prominent tree grove on the site.

The construction of the building also makes clear where one is within the ensemble. The roof, which extends as a ring over the garden and courtyard, is planned as a wooden skeleton structure, while the round, inset building is designed as a monolithic solid wood construction. The large roof area is covered with a metal standing seam that has a resemblance to the typical Parisian roof but is differentiated by its patinated copper color, setting it apart from both the surrounding buildings and the green of the tree grove.

COMMON GROUND

The Esplanade des Invalides today represents a large, repurposed open space within the dense fabric of Paris. To the south, “Les Invalides” stands as a military monument, while to the north, the Pont Alexandre III leads to the Grand and Petit Palais across the Seine. The decommissioned head train station, Gare des Invalides, with its massive railway tracks, lies beneath the plaza, and the metro lines run one floor lower. A competition to transform the site into a museum dedicated to the work of sculptor Alberto Giacometti was won by Perrault Architects.

The design connects the Maison des Journalistes at the basement level to the new Giacometti Museum. The former railway platform is transformed into a public exhibition space, with video screens suspended between cast-iron composite columns. At plaza level, the building is raised on four monolithic natural stone pillars, allowing the public space to flow beneath the building's volume. A stone floor relief shapes an agora, with a “Speakers Corner” spiraling down into the ground, acting as a magnet for public discourse. A café and table storage in the bridge pillar program the covered urban space and invite appropriation. Escalators, as a symbol of the metropolis, lead upwards to the floating platform, which continues the democratic space as a public work hall.

Floor-to-ceiling truss beams, with secondary beams suspended between them, allow for an open floor plan and spatial continuity. On the open gable ends of the building, the academic workspace lies to the north, with a terrace overlooking the Seine. To the south is the editorial hall, with the journalists' apartments integrated above it into the floating platform. In the middle of the building, the forum is crowned by four sheds, creating a distinctive expression on the façade. The building also functions as a neighborhood power plant. The roof is covered with photovoltaic modules, while the basement houses H2 transformers and a retention basin for roof drainage and surface infiltration.