Wave 1, ECR Health Care Complex

A multifunctional medical building clad in a geometric form inspired by the energy of sea waves.

Modern medical and research laboratories clad in a form inspired by art. The careful planning of complex functions and internal logistics supports the execution of intricate, technologically advanced research. The aesthetic layer of the design draws on motifs characteristic of its coastal location.

The Wave 1 building is the first completed structure within the European Family Center’s medical building complex in Sopot. The facility houses medical and research laboratories, a data processing center, and the company’s management office. Standing 20 meters tall, it features four above-ground floors and one underground level. The underground level contains a specialized reagent cooler, storage areas, and a server room. The ground floor accommodates an analytical medical laboratory fully equipped with automated lines, including sample-sorting robots. The first floor includes a molecular biology laboratory, cytology and cytogenetics lab, and virology lab. The next level hosts the research and development center, where software based on artificial intelligence and machine learning is developed. The third floor houses the company’s management office.

Inspiration for the building’s form and facade comes from the AquaViva photography series by artist Pierre Carreau. Observations from analyzing these photos were translated into an architectural language, shaping the final massing and facade. Proximity to the sea influenced material selections. The site in “Lower Sopot” lies just 400 meters from the beach. Depending on occupant needs, the building presents two faces: a white, sun-reflecting screen of aluminum sheeting shields the south facade from overheating. This screen, with adjustable louvers, can form a continuous protective barrier when needed.

A nod to local tradition of facade ornamentation appears on the south and north panels via a pattern based on the Flower of Life, an ancient symbol attributed healing powers. Proportions of openings to solid parts were refined using 1:1 physical models. The result enables comfortable use even with fully closed louvers, reducing summer cooling demands. Each room features signage designed by FAAB. Floors include location indicators using floor color coding for spatial identification. The building’s aesthetic consistency ensures its recognizability.

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We were fascinated by the geometric diversity and complexity of sea waves.

AquaViva

The form of the building and its facade draw inspiration from the AquaViva photography series by artist Pierre Carreau. Fine divisions on what appears to be a uniform, smooth wave surface. The play of light and shadow gives the sea wave plasticity and natural “slickness.” Observations from analyzing the photos were translated into architectural language and helped develop the final form of the building’s massing and facade.

The proximity to the sea influenced the selection of finishing materials. The site where the building was constructed is located in an area called “Lower Sopot,” just 400 meters from the beach.

Depending on the occupant’s needs, the building can have two different faces.

A white, sun-reflecting screen—a second skin made from aluminum sheeting—protects the south external wall from overheating. Thanks to shutters that can cover the windows when needed, the screen can create a continuous protective barrier. All of these observations have been carefully translated into an architectural language, playing a fundamental role in shaping the definitive form of the building’s massing and facade.

The three-dimensional form of the east and west facades is designed to break and reflect sunlight. The material—polished ceramic sintered slab—creates a sensation of “slickness and depth.” These characteristics naturally evoke associations with water.

Local building tradition is present in the form of ornaments on the south and north facade panels.

Motif

A characteristic element of Sopot architecture is wooden carved ornaments adorning buildings from the turn of the 19th and 20th centuries. These details, which give buildings lightness, were mounted in gables, used to decorate windows, verandas, and protruding wooden structural elements. The ornaments were based on symmetrical floral or animal motifs from Tyrol as well as ornate laubzek (Vistula Delta) decorative patterns.
A reference to the local tradition of placing ornaments on building facades is the pattern application on the south and north facade panels. The basis for the ornament is the so-called Flower of Life, an ancient symbol attributed with healing powers.

The pattern filters sunlight and creates the interior’s character through the play of light and shadow.

The proportions between the openings and opaque parts of the facade panels were determined through work with full-scale 1:1 physical models of the panels. The resulting final effect allows for comfortable occupancy of the building even with all shutters fully closed. This leads to summer energy savings by reducing the building’s cooling demand.

The north and south facades were divided into 55 sections. Each of the 1,362 panels was hand-drawn by FAAB at 1:1 scale. The digital versions of the drawings served as templates for the waterjet cutting machine, which used a high-pressure water stream to cut the pattern into the aluminum sheeting.

The main entrance canopy is an integral part of the south facade. Its curvature evokes the image of a slowly building sea wave. The geometry of the element was developed based on a specially designed steel substructure, computer-modeled during the design stage through close collaboration between FAAB and the structural engineers.

The wood, through its texture and color, references the building’s seaside location.

Waterproof plywood—a traditional boat-building material—is used both on the exterior and interior of the building. On the canopy underface and ceiling, it continues the facade divisions, then transitions with a soft arch to the wall behind the reception.

The building houses a complex and technologically advanced function with intricate interrelationships.

Process

The facility contains medical and research laboratories, a data processing center, and the company’s management office. The first stage of the project was a conversation with future occupants to determine their needs. Based on the data obtained, FAAB prepared technological guidelines and assumptions. Based on this, layouts for technological flows and room cards were developed, containing data on specialized analytical and research equipment—including media requirements, heat gains, and more. The next stage involved planning horizontal and vertical logistics within the building, as well as defining external delivery routes for materials used in equipment and research samples. In the final step, FAAB created the definitive room layouts, incorporating room arrangements, equipment placement, and ventilation air gradation principles. This multi-stage process ultimately enabled the creation of one of Poland’s most technologically advanced laboratories.

The form encompassing the stairwell recedes and builds, creating an illusion of movement.

The character of the stairwell is defined by a three-dimensional form made of plywood. The form encompassing the stairwell begins its run on level -1 and ends at the exit to the rooftop terrace. Divided into triangular fields and enriched with internal windows allowing observation of movement on the stairs, it recedes and builds, creating an illusion of movement.

The layout of the carpeted flooring is inspired by marine themes.

Composition

The composition is based on marine-themed paintings by Soter Jaxa-Małachowski. Processed and divided into large pixels, the images become an abstract color composition that enlivens the space. A total of 26 colors were used to create impressions based on 3 works depicting the coastline adjacent to Sopot. On the first floor, the painting “Hel-łódź” (1930) is featured. “Bałtyk” (1938) appears on the second floor. The painting “Fale” (1934) serves as the basis for the flooring on the third floor.

The building is equipped with wayfinding that coordinates with the interior finishes.

Each room is equipped with signage designed by FAAB. Floors also feature location information based on spatial identification created through floor color schemes.

The recreational rooftop terrace offers views of the Gdańsk Bay.

Terraces

On the roof, next to the technical terrace housing the building’s technological core, a recreational terrace was created. This space, thanks to a large opening in the east wall, provides visual contact with Gdańsk Bay. The flooring, seating steps, and lounging benches are finished with larch wood. The wood was intentionally left untreated with any impregnating agents. Over time, the material is expected to weather and gray under atmospheric conditions, blending color-wise with one of Sopot’s icons—the pier extending 458 meters into Gdańsk Bay.

The enclosure of the technical terrace, continuing the facade motifs, completely conceals the extensive technology present on the roof.

To maintain the building’s consistent aesthetic, FAAB designed custom exterior wall-mounted light fixtures. Using computer modeling, several prototypes were prepared for further analysis by the Investor and manufacturer. In collaboration with the manufacturer, the light source was selected, and after modifying the original design, the fixtures were sent to production. The fixtures serve as decorative elements on the recreational outdoor terrace.