- ACADEMIC FACULTY STAFF MEMBERS

 
PERSONAL DETAILS
Title
: Professor
Name: Tom Heneghan
Position: Coordinator, Design in Architecture program
Location: Room 328, 148 City Road, The University of Sydney, NSW 2006
Phone: +61 2 9351 8570
Email:heneghan@arch.usyd.edu.au

Curriculum Vitae

WORK

PROJECTS
Fata Morgana (Mirage)

 

RESEARCH PORTFOLIO

Researcher: Professor Tom Heneghan
Classification: Academic Level E
Function:Teaching/Research
FTE:  100%
Faculty: Architecture
Commenced with Institution:1/3/2001
Commenced Current Job:1/3/2001

Funded Projects

Principal Researcher of benchmarking review of architecture programs at University of Melbourne, RMIT, University of Western Australia and Curtin University, 2003-2004, funded by University of Sydney Teaching Improvement Fund Grant.

Graduate Research Supervision (Current)

Associate Supervisor – PhD. Dagmar Reinhardt.

Associate Supervisor – PhD, Russell Rodrigo.

Associate Supervisor – MPhil(Arch). Lucy Denham,‘The Evolving Relationship Between the Sydney Opera House and its Harbour/City Setting’.

Supervisor – Advanced Study Research (ASR) - BArch(Hons) - Margaret Liu, The China House

Graduate Research Supervision (Graduands)

Supervisor – Advanced Study Research (ASR) - BArch(Hons), Jack Chen, The China House.

Top 5 Publications in the Last 6 Years

Journal Articles

  • Heneghan, T, & van Schaik, L, "Back to School - Architectural Education - the Information and the Argument", special issue on architectural education, Architectural Design magazine Vol 74, No 5, Sept/Oct 2004, published by Wiley-Academy (UK), Pages 32 – 41
  • Heneghan, T, `Going Ahead of the Times…`, Architectural Theory Review, Vol 9, No 2, 2004, pages 86 - 90 (refereed)
  • Heneghan, T, `Memory and Invention – Novy Dvur`, Architectural Review Australia, 091, pages 50 – 58
  • Heneghan, T, `The Architecture of Fumihiko Maki’ (book review), Architecture Australia, Sept/Oct 2004, page 56
  • Heneghan, T, ‘Architecture and the New Realism’, Detail JAPAN, Reed Japan, 2005.

Chapters in Books

  • Heneghan, T, ‘Hopes and Dreams’,'10 x 10', Phaidon Press, 2000, pp 12; 44; 48; 88; 189; 212; 280; 296; 356; 404; 423; main essay 414, selected essay 438.
  • Heneghan, T, ‘Orchestral Spaces’ Awaji Yumebutai, monograph on Tadao Ando’s Awaji Yumebutai published by Shinkenchiku-sha, May 2000, pp 106-110.
  • Heneghan, T, ‘Eloquent White’ Waro Kishi’, Gustavo Gilli. 2001.
  • Heneghan, T, Tetsuo Furuichi’ (exhibition catalogue) 2001.

Heneghan, T, `Not As We Know It`, Exquisite Apart, Charles Walker (ed), NZIA Inc, 2005, pages 110-117

(This book has been described as “possibly the most important book ever published on New Zealand architecture”.)

  • Heneghan, T, `The Idea of Ideas – Tom Heneghan in Discussion with Pete Bossley`, Pete Bossley, New Zealand Architectural Publications Trust, 2005, pages104-107
  • Heneghan, T, architect; ‘Building Simply’, Christian Schittich (ed), Birkhauser, 2005, pages 66 – 69

Conference Publications

  • Heneghan, T, & Neale, D, `Kidosaki Redux`, paper delivered at AASA Conference ‘Drawing Together: Convergent Practices in Architectural Education’, 2005
  • Heneghan, T & Guedes, P, ‘Translucence’, paper delivered at Canberra Architecture Biennial, 2005 (to be published)

Research

Contemporary Japanese Architecture and how its conception relates to and differs from contemporary architectural practice in western nations; the ideas underlying contemporary architectural practice.

Peer Esteem/Standing

Refereeing

  • International Reader, Australian Research Council (ARC), 2001 – to date
  • Referee, Journal of Architectural Education (USA), 2004
  • Referee, Architectural Science Review, 2005
  • Referee, Architectural Theory Review, 2005

Higher Degree Examiner

  • RMIT University, PhD Examiner, 2004
  • National Institute of Design, Swinburne University of Technology, Masters in Design thesis examiner, 2004
  • University of Queensland, MPhil Examiner, 2005

Examiner and Reviewer (during last 6 years, only)

  • External Examiner, Department of Architecture, University of Hong Kong – 1999 - 2004
  • Guest Critic of BArch student coursework at UNSW, 2002.
  • Guest Critic of MPhil (by Design) coursework at University of Queensland, 2003
  • Guest Critic of BArch student coursework at University of Western Australia, 2003.
  • Invited research participant, Architecture Program, University of Adelaide, 2004
  • Invited Review of architecture program, Queensland University of Technology – 2004
  • External Peer Assessor, Research Quality Review, Department of Architecture, University of Tasmania, 2005
  • External Reviewer, University Review of Architecture degrees, University of Tasmania, 2005
  • External Examiner, Department of Architecture, University of Auckland – 2005 - 2008
  • External Reviewer, External Review Committee of the Bachelor of Design Studies, the Bachelor of Architecture and the Bachelor of Landscape Architecture programs at the University of Adelaide - 2005

Appointments (during last 6 years, only)

  • Juror, international architectural competition for Queensland Gallery of Modern Art, Brisbane – 2001-2
  • Judge of Tokyo Society of Architects, annual Housing Awards, 2000 - 2002
  • Juror of the International Virtual Jury of the Ukrainian National Architect's Competition "Creation", 2002
  • Judge of University of Sydney Law Faculty and USyd Central architectural competitions, 2003
  • Chair of the Jury, 2003 RAIA (NSW) Awards jury
  • Chair of the Jury, 2003 Woollongong Architecture Awards
  • Chair of the Jury, Watershed/City of Sydney Design Competition, 2003
  • Chair, National Trust (NSW) Conservation Committee, 2004 - 2005
  • Member, National Trust Urban Conservation Committee/Architectural Advisory Committee, 2003 – to date
  • International Juror for 2004 Principal Awards of the New Zealand Institute of Architects
  • Juror of NSW Architecture Schools Design Competition, ‘Superstudio’ 2004
  • Juror of NSW Architecture Schools Design Competition, ‘Superstudio’ 2005
  • Juror, RAIA Student Prize for the Advancement of Architecture, 2005
  • Juror, RAIA National Lysaght Research Scholarship, 2005
  • Juror, RAIA National Student Prize (Glenn Murcutt Prize), 2005

Keynote Lectures (during last 6 years, only)

  • Keynote speaker at ‘East-Wind’ Asia Design Forum, Tokyo, Japan, 2000
  • Keynote speaker atFukushima International Colloquium on the Environmentally-Oriented City, Fukushima, Japan, 2001
  • Keynote speaker at international Con-Con colloquium, Berlin, Germany, 2002
  • Keynote speaker atthe Royal Institute of Architects of Scotland Convention, Inverness, Scotland, 2002
  • Keynote speaker at Australian Architecture Students Congress, ‘States of Mind’, Tasmania, 2004
  • Keynote speaker at annual Congress of the New Zealand Institute of Architects, 2004
  • Keynote speaker at Canberra Architecture Biennial, 2005
  • Keynote Speaker at National Trust (NSW) 2005 Conference, ‘Creative Conservation’, 2005
  • Keynote speaker at RAIA/UNSW ‘Windows’ symposium, 2005.

Invited Lectures (during last 6 years, only)

  • North Japan Architecture Students Association Workshop, Sendai, Japan, 2000
  • Invited Lecture at The Architectural Association, London, 2002
  • Invited Lecture at The Architectural Association of Ireland, Dublin, 2002
  • Invited Lecture at The University of Lund, Sweden, 2002
  • Invited Lecture to The Alaska Design Forum, Anchorage, Fairbanks and Juneau, 2004
  • Invited lecture to the Japan Institute of Architects, Tokyo, 2005
  • Invited Lecture at The Tusculum, Royal Australian Institute of Architects, 2002

Invited Teaching (during last 6 years, only)

  • Visiting Professor, University of Queensland, Australia, 2000
  • By invitation, conducted Masterclass at University of Hong Kong

(colleague professors: Kengo Kuma and Shigeru Ban), 2001

  • By invitation, conducted Masterclass at University of Queensland, Australia, 2003
  • By invitation, conducted Masterclass at Chiba Institute of Technology, Japan, 2005
  • Design Tutor at Global Studio, UAI Congress, Istanbul, 2005.

Conference Panellist (during last 6 years, only)

  • Panellist at conference on the e-City, QUT, Brisbane, 2002
  • Panellist at ‘On Monumentality’ conference, RAIA, Sydney, 2002

Media (during last 5 years, only)

  • Interview on ABC Radio ‘The Saturday Show’ - broadcast April 05.
  • Interview on ABC Radio ‘The Comfort Zone’ - broadcast Mar 04.
  • Pannelist on ABC Radio ‘The Comfort Zone’ - broadcast Nov 04.
  • Interview, Sydney Morning Herald, ‘Domain’, page 15, 30 May 2002
  • Interview on ABC Radio ‘The Comfort Zone’ - broadcast July 02.
  • Interview, Sydney Morning Herald, ‘Domain’, pages 6-7, 18 July 2002

Exhibition Curation (during last 5 years, only)

  • Curator of Exhibition ‘Shaping Space – Drawings by Harry Seidler’, Tin Sheds Gallery, Faculty of Architecture, University of Sydney, Aug-Sept 05.

Creative Works

Awards (during last 6 years, only)
  • Japanese Government Public Building of the Year, Tohoku (Central Japan) section, 2002
  • Japanese Government Public Building of the Year, All Japan, 2002
  • Joint 1st Prize, ‘Con-Con’ Bridge competition, Berlin, Germany, 2003
  • Finalist in competition for the re-design of Manly Corso, 2005
Exhibitions (during last 6 years, only)
  • ‘East-Wind’, Asia Design Forum, Tokyo, Japan, 2000
  • ‘Japan - Towards Totalscape’, Netherlands Architectural Institute, Rotterdam, Holland, 2000
  • The Environmentally-oriented City’, Fukushima, Japan, 2001
Con_Con exhibition, Berlin, 2004

Publications of Creative Works (during last 6 years, only)

Books

  • Detail – Building Simply, Birkhauser, Berlin, 2005, pages 66 – 69

Journals

  • Niche magazine (Japan), Vol 22, 1999, pp 26-29 (in Japanese)
  • The Kenchiku Gijutsu (Japan), No. 597 1999, pp 12 - 23. (in Japanese)
  •  Hinge Magazine (Hong Kong) Vol 75, 2001, pp 56 – 60
  • Cross Section (New Zealand), 5 pages, cover and feature article – Apr 2004
  • Vision Magazine (China), 8 pages, Dec 2004.
  • Monument, magazine (Australia), April/May 2002, pages 92-96
  • Architects Journal, magazine (UK), 9 May 2002, page 22
  • Cross Section (New Zealand), 5 pages, cover and feature article, Apr 2004.
  • Vision, magazine (China), Dec 2004, pages 278 - 283

(Numerous international publications of Fata Morgana, con_con 2004):

  • Monument, magazine (Australia) – April/May 2005.
  • Susanne Liehr: Con_Con (Berlin), in: db deutsche bauzeitung. Zeitschrift für Architekten und Bauingenieure, 138 Jg., issue 09/2004, p.18.
  • N.N.: Eine Brücke für Europa, in: Large Format Online, issue 08/2004
  • Juliane Grützner: Brücken erleben, in: design report, issue 07+08/2004, p.27.
  • Friederike Meyer: Im Stadtraum. Kunstprojekt “con_con” in Berlin, in: Bauwelt, 95. Jg., issue 22/2004, p.38-39.
  • Fata Morgana (Mirage), in: Shinkenchiku (Japan), issue 7/2004, p.120-121.
  • Brücken vom Westen zum Osten, in: DB mobil, issue 06/2004, p.92.
  • Ulrich Clewing: Brücken in der Nacht, in: Der Tagesspiegel, Berlin Kultur, June 22, 2004.
  • Manuela Blisse: Badeschiff, Lichtbrücke und Fata Morgana, in: Wohnen in Berlin + Brandenburg, issue 05+06/2004.
  • Sebastian Schwarzenberger: Hauptsache Baden, in: zitty, issue 11/2004, p.78.
  • Christiane Meixner: Wasserspiele, in: Berliner Morgenpost, Kultur, June 13, 2004, p.12.
  • Barbara Kerneck: Atlantis in der Spree, in: die tageszeitung, May 11, 2004, p.25.
  • Karin Nölte: Die Kunst, im Spreepool zu baden, in: Neues Deutschland, May 07, 2004.
  • N.N.; Kunst an Brücken, in: db deutsche bauzeitung. Zeitschrift für Architekten und Bauingenieure, issue 05/2004, p.12.
  • Heike Catherina Müller: con_con: constructed connections. Interdisziplinäre Kunstprojekte am Ufer und auf den Brücken der Spree, in: Kunststadt – Stadtkunst, issue 51/2004, p.30-31.
  • N.N.: Eine Brücke, eine Brücke … schööön!, in: art – das Kunstmagazin, issue 5/2004.
  • Iris Braun: Spreebadewanne, in: tip Berlin Magazin, issue April 22, 2004.
  • Elfi Kreis: con_con, in: Kunstzeitung, No. 87, issue 11/2003.
Research

My research work occurs within two fields of endeavour – the production of academic writings, including conference papers, journal articles and book chapters; and the critical practice of architectural designs.

My architectural practice and creative works in environmental art have received

More than thirty international awards and prizes, including, in 1994, the ‘Gakkai Shoh’ – the most prestigious award of the Academy of the Architectural Institute of Japan. My works have been exhibited in UK, USA, Holland, Poland, Italy, Thailand, Malaysia, and Japan, and have been published internationally in journals and books. I have delivered invited lectures on my work throughout Europe, USA, Asia and Australia.

My particular area of scholarship and research is contemporary Japanese architecture, and in particular how it and its conception relates to and differs from contemporary architectural practice in western nations. I have authored the principal critical essays in monographs on Waro Kishi, Tetsuo Furuichi and Riken Yamamoto, and in two monographs on Tadao Ando (one essay being subsequently selected for inclusion, and re-printed in a volume of international scholarship on Ando, edited by Professor Francesco dal Co). My recent papers and publications have continued these investigations, and have widened to address how the differences between Japan’s and the west’s architectural conceptions are manifested and recognised in architectural education.

My joint paper at the 2005 Canberra Architecture Biennial was the result of the first stage of my current research into the ideas underlying contemporary architecture, worldwide, and dealt with the issue of transience and intangibility embodied in the translucent and layered character of much contemporary architecture. 

Impact of Research

New knowledge in architecture is disseminated largely through publication in recognised professional journals and through exhibitions of designed work. Both have impact on the practice of architecture and on the quality of the built environment. Publication of my writings and creative works contributes to the development of architectural thought, and provides commentary and reflection on contemporary practice.

The reach and impact of my research is evidenced by the number and international spread of my invited lectures, teaching, exhibitions and writings, by the invitations of my peers to Chair professional committees of importance, by the invitation of professional bodies to be juror of major competitions, by the invitations of other universities to assess and advise on the effectiveness of their architectural programs and to act as external assessor, and by the numerous awards given to my creative works.

 


Curriculum Vitae
Tom Heneghan was born in London, England in 1951. He graduated from the Architectural Association in 1975 and subsequently taught at the AA as Unit Master from 1976 until 1990, when he was invited by Arata Isozaki to participate in ‘Art Polis’ — an international programme of architectural works in Kumamoto, southern Japan - and he established his office, The Architecture Factory, in Tokyo. After completing his Kumamoto buildings Heneghan was awarded the ‘Gakkai Shoh’ — the most prestigeous award of the Architectural Institute of Japan. In 2002 he received the ‘Kokyo Kenchiku Shoh’ — the Japanese Government’s principal award for public architecture - for his Forest Park Adatara project in Fukushima. In 1991 the government of Toyama Prefecture appointed Heneghan 'Master Architect' for the 'Machi no Kao' ('Face of the Town') programme, which included buildings by Enric Miralles, Daniel Liebeskind, Torres and Lapena and Ron Herron.

His architectural works have been of all types and at all scales, from museums to bridges to a conceptual master-plan for Japan’s future new capital city.

Heneghan has taught or lectured at the Architectural Association, University College London, the University of Bath, the University of East London, Canterbury School of Art, Macintosh University Glasgow, Catholic University Washington DC, New Jersey Institute of Technology, SCI-Arc Los Angeles, University of Lund in Sweden, Osaka University, Kyoto University, Tokyo Institute of Technology, Waseda University, Rikka University, Tokyo University and Tokyo National University of Fine Arts, Department of Architecture, where he was Visiting Foreign Professor for four years. In 1999 he was The Ruth and Norman Moore Visiting Professor of Architecture at Washington University in St Louis, USA. He was 2000 Visiting Professor of Architecture at the University of Queensland, Australia, and External Examiner for the architecture department of the University of Hong Kong from 1999 — 2003. Prior to taking the Chair at the University of Sydney he was a Professor at Kogakuin University, Tokyo.

Heneghan has lectured, published and exhibited internationally, with his works included in the Japanese pavilion at the 1996 Milan Triennale, and in the ‘Totalscape’ exhibition of Japanese architecture at the Netherlands Architecture Institute, Rotterdam, in 2000.

1996 he lectured in Sydney, Melbourne and Brisbane at the invitation of the Royal Australian Institute of Architects. In 2000 he lectured in Canada at the invitation of the Vancouver League for Studies in Architecture and the Environment. In 2001 lectured in Glasgow at the invitation of the Royal Scottish Institute of Architects. In 2002 he lectured in Dublin at the invitation of the Architectural Association of Ireland, and was a keynote speaker at the Conference of the Royal Scottish Institute of Architects.

Awards and Competition Prizes

* 1975 Holloway Scholarship
* 1975 1st Prize, Japan Architect Residential Design Competition. (Judge: Arata Isozaki).
* 1976 2nd Prize, Japan Architect Residential Design Competition. (Judge: Richard Meier)
* 1976 4th Prize, Building Design Competition (UK).
* 1976 Special Category Award, Art Into Landscape Competition (UK).
* 1978 2nd Prize, Japan Architect Residential Design Competition. (Judge: Charles Moore)
* 1980 1st Prize, Art Into Landscape Competition (UK).
* 1980 2nd Prize, Thamesmead Landmark Competition (UK).
* 1980 Bernard Webb Rome Scholarship.
* 1981 1st Prize, Neon Sculpture Competition (UK).
* 1981 2nd Prize, Newcastle Metro Competition (UK).
* 1983 1st Prize, Colt/Building Design Competition (UK).
* 1983 4th Prize, Northern Arts Sculpture Competition (UK).
* 1983 2nd Prize, Oxford Street Lights Competition. (Judge: Sir Norman Foster)
* 1984 British Plastics Federation Horners Award.
* 1987 2nd Prize, Kringlan Sculpture Competition (Iceland).
* 1989 Distinction, Waterloo International Competition (Belgium). (Judge: Sir James Stirling)
* 1989 3rd Prize, 'Poliphile' International Invited Competition. (Judge: Hans Kolhoff)
* 1989 4th Prize, Icelandair Sculpture Competition (Iceland).
* 1990 3rd Prize, Habnafjordur Music School Competition (Icelamd).
* 1994 Award of Academy of The Architectural Institute of Japan.
* 1994 Tokyo Journal Award for Innovation in Architecture.
* 1995 1st Prize, Namerikawa Museum Competition (Japan).
* 1995 1st Prize, Fukushima Auto-Camp Competition (Japan).
* 1995 SD Award (Japan).
* 1999 Chubu Architecture Award (Japan).
* 1999 Fukushima Architecture Award (Japan)
* 2001 Fukushima Award for Public Architecture (Japan)
* 2002 Japanese Government Public Architecture Award

* Exhibitions:
* 1975 Roosevelt Island Competition, MOMA New York, USA.
* 1975 ‘Ideal Home Show’, ICA, London.
* 1975 Shinkenchiku Competition, AA School, London.
* 1976 ‘40 London Architects’, Art Net, London.
* 1982 South Bank Sculptures, Royal Festival Hall, London.
* 1984 Kew Gardens Competition, AA School, London.
* 1985 International Association of Architects Exhibition, IAU Krakow, Poland.
* 1989 ‘Aktion Poliphile’, zD Gallery, Frankfurt, Germany.
* 1999 JIA Exhibition, TOTO Superspace, Tokyo, Japan.
* 1993 ‘Re-Engineering Tokyo’, AXIS Gallery, Tokyo, Japan.
* 1994 ‘Traces of Architecture’, Matsuya Ginza Gallery, Tokyo.
* 1995 ‘Topos’, Hillside Forum Gallery, Tokyo, Japan.
* 1996 Milan Triennale, Milan, Italy.
* 1995 ‘Emerging Trends in Japanese Architecture’, Malaysian Architects Institute, Kuala Lumpur, Malaysia.
* 1996 ‘Emerging Trends in Japanese Architecture’, Siamese Architects Institute, Bangkok, Thailand.
* 1997 ‘Emerging Trends in Japanese Architecture’, Mongolian Architects Association, Ulan Bator, Mongolia.
* 2000 ‘East-Wind’, Asia Design Forum, Tokyo, Japan.
* 2000 ‘Japan - Towards Totalscape’, Netherlands Architectural Institute, Rotterdam, Holland.
* 2001 ‘The Environmentally-oriented City’, Fukushima, Japan.

Conferences and Symposia:

* 1993 Art Polis International Conference on Architecture and Urbanism.
* Kumamoto, Japan.
* 1995 The Modern City
* Sendai, Japan.
* 1997 Architecture and Landscape Conference.
* Fukushima, Japan.
* 1998 Architectural Institute of Japan Conference Britain-Japan.
* Tokyo, Japan.
* 2000 Contemporary Vernacular in Asia.
* Tokyo, Japan.
* 2000 ‘East Wind’, Asia Design Forum
* Tokyo, Japan.
* 2001 Asia-Pacific Architects Conference (Moderator).
* Tokyo, Japan.
* 2001 Fukushima International Colloquium on the Environmentally-Oriented City, Fukushima, Japan.
* 2002 Royal Institute of Architects of Scotland Convention.
* Inverness, Scotland.
* 2002 Con-Con Conference, Berlin, Germany.

Visiting Professorships and Masterclasses:

* 1990 Masterclass of the Japan Institute of Architectects, Tokyo, Japan.
* (other professors: Bernard Tschumi, Elia Zenghelis, Itsuko Hasegawa, Kazuo Shinohara).
* 1994 Nihon University Masterclass, Tokyo, Japan.
* (other professors Juha Levitska, Manuel Tardits)
* 1994 Japan Architecture Students Association Workshop, Yokohama, Japan.
* (other professor Riichi Miyake).
* 1995 Kyoto Architecture Students Association Workshop, Kyoto, Japan.
* 1999 Ruth and Norman Moore Visiting Professor, Washington University in St Louis, USA.
* 2000 North Japan Architecture Students Association Workshop, Sendai, Japan.
* 2000 Visiting Professor, University of Queensland, Australia.
* 2001 Masterclass, University of Hong Kong.
* (other professors Kengo Kuma and Shigeru Ban.)

Honorary Appointments:

* Judge of Art Polis annual architecture awards, 1995 — 2000, (Japan).
* Judge of Tokyo Society of Architects, annual Housing Awards, 2000 to date.
* Judge of 2001 Union Design Competition (Japan).
* Judge of Queensland Gallery of Modern Art competition, 2001-2002 (Australia).
* Editorial correspondent, UME magazine (Australia), 1996- to date.
* Appointed Founder Member and Committee Member of the Toyama Association, by Toyama Prefecture Governor Nakaoki, 1996 to date.
* Appointed ‘Ambassador for Fukushima’ by Fukushima Prefecture Governor Sato, 1998 to date.
* External Examiner, Department of Architecture, Hong Kong University, 2001 to date.
* Consultant to Tokushima Prefectural Government and Fukushima Prefectural Government.

Published works

Roosevelt Island Housing Competition (Group Entry)

* Architectural Record (USA) October 1975.
* Architectural Design (UK) November 1975
* L’Architecture d’Aujour d’hui (France) Vol 186, 1976

House for Raquel Welsh (Shinkenchiku Competition)

* Japan Architect 1975
* Casabella (Italy) 1975.
* A+U (Japan) October 1977, p 97.
* Building Design (UK) October 24 1975, p 1.
* Building Design (UK) October 31 1975, p 8.

X-Ray Architecture

* Domus (Italy) March 1977, p 52.
* A+U (Japan) October 1977, p 96.

Tyre Noise

* A+U (Japan) October 1997, p 96.
* Art Into Landscape (UK) 1980.

Waves Hair Salon, London, England.

* Architectural Review (UK) January 1982, p 68.

The House With Blue Eyes (Aktion Poliphile)

* Building Design (UK) January 1990, pp 1, 26 — 27.

Grasslands Agricultural Institute, Kumamoto, Japan.

* SD Magazine (Japan) January 1991, pp 46 — 47.
* Shinkenchiku (Japan Architect) December 1992, pp 210 — 217.
* Kenchiku Bunka Vol 48 February 1993, pp 67 — 82.
* GA Japan March 1993, pp 170 — 177.
* Japan Architect, Vol 10, summer 1993, cover + pp 184 — 195
* Architectural Review (UK) June 1993, cover + pp 28 — 30.
* Process Architecture (Japan) 125, 1994, cover + pp 5 - 44
* Shinkenchiku (Japan Architect) April 1999, p 218.
* Towards Totalscape (Netherlands), published by NAI, 2000, pp 226 — 227
* Hinge Magazine (Hong Kong) Vol 75, 2001, pp 56 — 60.
* Sea Viewing Platform, Toyama, Japan.
* Shinkenchiku (Japan Architect) January 1993.
* GA Japan February 1993.
* Architectural Review (UK) July 1993, pp 37 — 39.
* Art and Architecture: New Affinities, Gustavo Gili 2000, p 99.

Intermission.

* Axis Magazine (Japan) Vol. 49, Autumn 1993, pp 66 — 67.

Schools Vacation Cabins, Hiroshima, Japan.

* SD Magazine (Japan) December 1995, pp 13 — 15.
* JT Shinkenchiku (Japan) November 1996, pp 30 — 35; 49 — 57.
* Detail (Germany) December 1996, pp 31 — 35.
* Hotaruika Museum, Toyama, Japan.
* Nikkei Architecture (Japan) 15 June 1998, pp 25 — 31.
* Shinkenchiku (Japan Architect) July 1998. Pp 140 — 147.
* GA Japan August 1998.
* Shoten Kenchiku (Japan) October 1998.
* Japan Architect Vol 32, Spring 1999, pp 36 — 37.
* Architecture and Society (in Japanese) March 2000, pp 73 - 75.
* Hinge Magazine (Hong Kong) Vol 75, 2001, pp 56 — 60.

Forest Park Adatara, Fukushima, Japan.

* Shinkenchiku (Japan Architect) August 1998, pp 132 — 140.
* Kenchiku Bunka (Japan) August 1998, pp 62 — 82.
* Art and Architecture: New Affinities, Gustavo Gili 2000, p 101.
* Hinge Magazine (Hong Kong) Vol 75, 2001, pp 56 — 60.

The Whispering Bridge, Toyama, Japan.

* Shinkenchiku (Japan Architect) November 1999, pp 202 — 204

Heaven Chamber, Toyama, Japan.

* Art and Architecture: New Affinities, Gustavo Gili 2000, p137.
* General articles on Heneghan’s works
* Design Week (UK), ‘Gaining Face’, 9 August 1991, pp 16-17.
* Building Design (UK), ‘Eastern Premise’, 9 April 1993, pp 18-19
* Japan Times, January 10, 1993. P 13.
* Japan Architect, Vol 10, summer 1993, cover + pp 184 — 195.
* at magazine (Japan), November 1993, cover + pp 24-31 (in Japanese).
* Process Architecture 125 (Japan), 1994, cover + pp 5 - 44.
* Nikkei Architecture (Japan), 23 May 1994, pp 92-96 (in Japanese).
* 581 Architects in the World, published by TOTO Shuppan 1995, p 557. (in Japanese).
* Art 4d (Thailand), January 1996, pp 26-27 (in Thai).
* D’s Beam (Japan), summer 1996, pp 4 — 11 (in Japanese).
* Niche magazine (Japan), Vol 22, 1999, pp 26-29 (in Japanese).
* The Kenchiku Gijutsu (Japan), No. 597 1999, pp 12 - 23. (in Japanese).
* Hinge Magazine (Hong Kong) Vol 75, 2001, pp 56 — 60.
* Monument (Australia) April-May 2002, pp 92 — 96.
* Sydney Morning Herald October 8, 2002, p 15.

Writings by Tom Heneghan

Essays in Books

* ‘Tadao Ando 1988 — 1993’. ADA Edita, Tokyo 1993. ‘Predicated on Participation’ pp 8 — 23. (Selected for, and re-printed in, ‘Tadao Ando. The Complete Works’, edited by Francesco dal Co, Phaidon 1998)
* ‘Invisible Language’. Architectural Association, London, 1993, pp 11 — 14.
* ‘The Colours of Light - Tadao Ando'. Phaidon Press, 1996. ‘Architecture and Ethics’ pp 10 — 24.
* '10 x 10'. Phaidon Press, 2000. ‘Hopes and Dreams’ pp 12; 44; 48; 88; 189; 212; 280; 296; 356; 404; 423; main essay 414, selected essay 438.
* Awaji Yumebutai. Monograph on Tadao Ando’s Awaji Yumebutai published by Shinkenchiku-sha, May 2000. ‘Orchestral Spaces’ pp 106-110.
* ‘Waro Kishi’. Gustavo Gilli. 2001. ‘Eloquent White’
* ‘Tetsuo Furuichi’. (exhibition catalogue) 2001.

Essays in Magazines and Periodicals

* Akshara (India) April 1982, pp 16-20. ‘The Problem of the Polemic’.
* Building design (UK) April 1990, p 16. ‘Divine Fire’
* Arata Isozaki - Japan Architect December 1993, pp 10-13. ‘Uneasy Lies the Head that Wears the Crown’.
* Kenchiku Bunka (Japan) June 1994, pp 75 — 84. ‘In conversation with Peter Smithson’.
* SD Magazine (Japan) January 1995, pp 127-130. ‘Aesthetic Surgery - The Architecture of Riken Yamamoto’.
* Building Design (UK) 29 September 1995, pp14-15. ‘Double Vision’ - the artworks of Kisa Kawakami.
* Architectural Review (UK), September 1999, pp36 — 37. ‘The View from St. Louis’.
* Kenchikushi (Japan) Vol 48, October 1999. The Wooden Architecture of Japan.
* (in Japanese).
* Architectural Review (UK), July 2000. ‘The View From Tokyo’
* World Architecture (UK), September 2000, pp 76-83. ‘Life and Soul’ - Tadao Ando’s Awaji Yumebutai.
* Shinkenchiku (Japan Architect), November 2000, pp 102-103. ‘Renewal/Recycling’ - Invited essay in the 75th anniversary special edition of Shinkenchiku.
* World Architecture (UK), January 2001, pp 74-75. ‘Wizards of Oz’ re: Australian architecture.
* Architecture Magazine (USA) March 2001. Pp 96 — 103. ‘Yumebutai’.
* World Architecture (UK), May 2001, pp 72-77. ‘Into the Light’ re: Tadao Ando’s Komyoji Temple.
* A+U (Japan) Vol 368, May 2001, pp 134 — 136. ‘Pacific Rim’

Book and Exhibition Reviews

* Architectural Review (UK) May 1998, p 104. ‘Bognar Regis’ - review of ‘World Cities — Tokyo’ by Botond Bognar, Academy Editions, 1998.
* Architectural Review (UK), June 1998. ‘Japanese Vision’ - review of ‘Japan 2000: Architecture and Design for the Japanese Public’ by John Zukowsky, Prestel 1998.
* Blueprint (UK), October 1998. ‘America’s Architectural Imperialism’ - review of exhibition ‘At the End of the Century: One Hundred Years of Architecture’.
* Architectural Review (UK), October 1999. ‘Vapour Distilled’ - reviews of ‘Shaking the Foundations’ by Christopher Knabe and Joerg Rainer, Prestel 1999, and ‘Learning from the Japanese City’ by Barrie Shelton, E&FN Spon 1999.

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Name of project: Fata Morgana (Mirage)
Designers : Tom Heneghan and Manu Kumar

 

The Bridge: symbol of connection
"Fata Morgana" ('Mirage') involves the transformation of the historic Eiserne Brücke (Iron Bridge), which connects the Museum Island - a UNESCO World Heritage site - with the historic centre of Berlin.
For fifty years, during the Cold War, Berlin was the centre of a divided Europe and was the symbol of a divided World. With the reunification of Germany the city became a symbol of hope. Defying their politicians, the people overcame their separation, and in a peaceful manner a new Europe was born. In Fata Morgana the bridge is seen as a symbol of this unification, but also of the wished-for, and still elusive, dream of a united Europe.

Reflection as the form of presentation
A vast illuminated satellite photograph of Europe, printed on 160 8mm thick acrylic plates, is fixed under arch of the existing bridge, and is viewed from the river-banks as a reflection on the constantly moving water surface. Like a mirage, the image constantly transforms as it dances on the waves and dissolves into blurred fragments of light - a mass of moving patterns in which, as the water stills, we momentarily glimpse what we wish to see - a unified picture of a united Europe. And, then the water moves….
This constantly changing, unstable image questions whether what we thought we saw was real and realizable, or whether it can exist only in our imagination.

Metropolis Europe
From close-up, this reflected image of the European continent addresses a different dimension, and is seen to be composed of streets, buildings, parks and public places. Satellite views of Beijing and Los Angeles - one city from the eastern and one from the western hemisphere, and both exemplars of their region's cultural and social structures - were painstakingly revised, centimeter by centimeter, and combined to create a vast fictitious metropolis. Using real world objects, fictitious structures were created, and a new, multifaceted, multicultural city emerged. This image of Europe as a giant metropolis, coalesced and without boundaries, in which the inhabitants of the continent are neighbours in a cosmopolitan city, is propaganda for unification, while the transience of its image in the water surface comments on the intangibility of this dream while Europe still remains a conglomeration of different interests, caught up in the tensions between East and West, between different political and social ideologies.

Fata Morgana is an arc of light which reaches through the depth of the water to join and unify the river-banks. In its light, a future European unity can be contemplated, and wished for - but its reality is as uncertain and as fleeting as a reflection on a wave.

Satellite images
While satellite photographs clearly express the interdependency of all peoples on this single planet, their frequent use for warfare associate them more with confrontation, military surveillance and destruction. The satellite images used in this project are of the highest resolution currently available for civilian use. Single buildings, vehicles and even people are distinguishable.