Competition platform matterbetter has announced the winners of its Syria: Post-War Housing Competition for architectural students and professionals. The competition, initiated earlier this year, called for solutions to the housing scarcity crisis in Syria, “which will affect the country as more and more cities of the war-torn country will be freed and refugees will start to come back.”
With refugee camps around Europe and other countries in generally poor conditions, and Syrian towns in ruins, one solution to the housing crisis becomes the creation of living conditions that are attractive for once-displaced Syrians to return. The competition asked for a new housing concept that would be able to permanently accommodate people in need of a new home and new life in Syria.
Out of 245 submissions, matterbetter selected three winners, each of which was awarded a cash prize, there were also nine honorable mentions.
The winners of the Syria: Post-War Housing Competition are:
ODA New York has released plans for “West Half,” a mixed-use development for the Capitol Riverfront neighborhood of Washington, D.C., that will offer residents views into baseball games at the adjacent Nationals Park. The 11-story building will also feature two floors of retail space and community amenities as it becomes a new visual complement to the neighboring cultural landmark.
The office of Peter Zumthor has released new renderings of their design for the Los Angeles County Museum of Art’s $600 million new home on Museum Row in Los Angeles. The images provide the first look into the museum interior and gallery spaces, and present the museum in its nearly-finalized design. From this point, Zumthor has stated, "it is only going to be small alterations."
UPDATE: We have added new night photos of the i360 as the ‘breathing’ lighting has been switched on for the first time. The lights were designed by Do-Architecture and can be programmed to display a range of color and pattern options.
David Marks of Marks Barfield Architects, explains, “The concept for the lighting at the top of the tower is that it ‘breathes’, gently increasing and decreasing in intensity at the average rate of a human being breathing at rest.”
JR is an anonymous artist who owns the biggest art gallery in the world. His exhibits are available on the streets, free of charge catching the attention of people who are not typical museum visitors. His work is thought provoking and mixes art and act.
JR is known worldwide for projects such as Portrait of a Generation (2006), Women Are Heroes (2008), and Face 2 Face (2007). The latter is a piece which through portraits of people made with a wide angle lens, printed in large scale and pasted on city walls was able to generate a reaction from the public.
Getting new work is critical to an architecture firm’s success. Unfortunately, it is very difficult (if not impossible) to get new work with fees that are commensurate with the amount of time that the job would require, especially if you are in a small firm. To start, our clients don’t often value the services we provide, and we don’t help the situation by constantly lowering fees just to get the work. Sure, we can play the game of limiting the services provided, giving a long list of exclusions (with the hope of getting Additional Services later), and doing less drawing... we all do it. Not surprisingly, the product suffers, and this gives the client even more reason to devalue architectural services. Yes, we need the work, and we do what it takes—but to what end?
Shigeru Ban (born August 5th 1957) is a Japanese architect who won the 2014 Pritzker Prize for his significant contributions in architectural innovation and philanthropism. His ability to re-apply conventional knowledge in differing contexts has resulted in a breadth of work that is characterized by structural sophistication and unconventional techniques and materials. Ban has used these innovations not only to create beautiful architecture but as a tool to help those in need, by creating fast, economical, and sustainable housing solutions for the homeless and the displaced. As the Pritzker jury cites: “Shigeru Ban is a tireless architect whose work exudes optimism.”
Online model sharing site Sketchfab last week announced three new features intended to solidify its position as one of the web's foremost platforms for sharing VR-viewable 3D models online. Originally launched in January of this year, the virtual reality features of Sketchfab's platform have proven to be popular and has even led to Sketchfab being referred to as "the Youtube of VR."
Martha Thorne, the Executive Director of the Pritzker Prize and dean of the IE School of Architecture and Design in Madrid, has warned of the dangers that the United Kingdom's decision to withdraw from the EU will pose to the architecture profession both in the UK and the EU. As reported by BDOnline, Thorne highlighted the mutual recognition of professional qualifications that has been established by the EU, enabling architects qualified in any EU country to practice in another EU country without being required to requalify.
This article is part of our new "Material Focus" series, which asks architects to elaborate on the thought process behind their material choices and sheds light on the steps required to get buildings actually built.
The Enseada House project was developed by the Porto Alegre office of National Architecture in 2015 and is 317 square meters with an interesting interplay between volume and materials. We talked with the architect Paula Otto, one of the designers to learn more about the material choices used in this project and the role that these choices played in the design concept.
The notion of the "Primitive Hut" has been part of the architectural discourse for decades; indeed, history suggests that it provided the Ancient Greeks with direct inspiration for Doric Order. But how do you build a wattle and daub hut, or create tiled roof, or develop primitive underfloor heating—all from scratch—today?
http://www.archdaily.com/792702/primitive-technology-how-to-build-a-primitive-hutAD Editorial Team
A few years ago, Chinese company Shenzhen Huashi Future Parking Equipment envisioned a unique solution to address congestion issues spurred by rapid population growth in many of China’s cities: a straddling bus that would bypass traffic by simply driving over top of it. The design captured the attention of people worldwide, though many were skeptical the idea could ever come to fruition. But now, that pipe dream has become a reality.
International firm Benoy has unveiled Kavanagh Street, its competition proposal for a mixed-use tower development in Melbourne, Australia.
Set back on the banks of the Yarra River in the Southbank precinct, Benoy’s design is a five-building set or a “family of towers” on a shared nine-story mixed-use podium, all of which would host 315,000 square meters of residential, hospitality, commercial and retail space.
In the past few weeks, the fates of two classic Brutalist buildings by architect Marcel Breuer were determined – with differing results. For the Atlanta Central Library, it was good news, as the Fulton County Board of Commissioners voted unanimously to support the renovation of the building, saving it from the wrecking ball. Meanwhile, the American Press Institute in Reston, Virginia, was not so lucky, as Fairfax County’s board of supervisors voted to tear down the building to make room for a new a townhouse development project.
Architectural Record has released the latest edition of its annual list of the “Top 300 Architecture Firms” in the United States, based on architectural revenue from the previous year (2015). Gensler, which became the first firm to surpass $1 billion in revenue in 2014, held on to the top spot with earnings of $1,181,030,000 in 2015. Los Angeles-based AECOM maintained its number 2 position after a revenue increase of more than 30 percent, making it the largest publicly traded company in the LA area. Perkins+Will continued their steady climb up the list, finishing at number 3.
In this interview, presented in collaboration with PLANE—SITE, Pierre Bélanger, curator of the Canadian contribution to the 2016 Venice Biennale—explains why Canada's practices of mining and extraction should be carefully understood for their architectural implications. Together with his firm OPSYS, Bélanger conceived of a miniaturized experience of an "inverted territorial intervention" so that Biennale visitors could personally experience and relate to "the complex ecologies and vast geopolitics of resource extraction."
http://www.archdaily.com/792555/video-pierre-belanger-explains-extraction-the-canadian-contribution-to-the-2016-venice-biennaleAD Editorial Team
Since 2015, Gramazio Kohler Research has been in the process of developing "Mesh Mould Metal," a project that studies the unification of concrete reinforcement and formwork into a single, robotically fabricated material system. The project is based on their first phase of research, Mesh Mould, which spanned from 2012 to 2014, and developed a robotic extrusion process for a polymer mesh.
Now, as a second phase, Mesh Mould Metal “focuses on the translation of the structurally weak polymer-based extrusion process into a fully load-bearing construction system” by replicating the process in metal. Specifically, the current research delves into the development of "a fully automated bending and welding process for meshes fabricated from 3-millimeter steel wire."
Richard Meier & Partners has completed their first project in South America, a 7-story, sustainable office building in the Rio de Janeiro neighborhood of Leblon. The building will feature concrete, glass and vertical gardens, and will serve as the new international headquarters for top Brazilian investment firm VINCI Partners. The structure consists of open office spaces looking out onto several private interior courtyards and a series of terraces that create a connection with the main urban thoroughfare of Bartolomeu Mitre Avenue.
The Metropolitan Museum of Art has released a 360° video of the recently renovated Met Breuer, the former home of the Whitney Museum designed by Marcel Breuer in 1966 that now houses sections of the Met’s modern and contemporary collections. The video takes you through several areas of the building including the entry, the lobby and the sunken garden courtyard. Orbit around the video to check out the unique apertures of the landmark facade and the finely detailed interiors, featuring the building’s iconic ceiling.
New images from HOUSE VISION Tokyo 2016 have been released as the event opened to the public this past weekend. This year’s theme, “Co-Dividual: Split and Connect / Separate and Come Together,” explores how architecture can create new connections between individuals, and the ways Japanese housing can adapt to cultural shifts through the implementation of technology.
With the opening ceremony of the Rio de Janeiro Olympics fast approaching, the city’s preparations have hit another setback. The main ramp at Marina da Gloria, which will serve as the Olympic sailing venue over the next few weeks, has partially collapsed. The structure was intended for temporary use as the main access point for boats to enter the water. No one was injured in the incident.
All architects desire recognition of their built work; for their signature design style to be identified, or for the quality of materials and details to outshine those around it. Unfortunately, if every new architectural structure was to insert itself into its context looking to be the star, soon it would become impossible to gauge the civic relevance of the area. Some buildings, such as Daniel Libeskind's Jewish Museum, appear dislocated with due cause, but others stand out for the sake of standing out, turning their back on their rich historical setting.
While there can be no singular strategy for contextual integration, Kurt Kohlstedt argues that a consideration of historical context, whether eventually chosen to acquiesce with or deny, will result in richer and more engaging built environment. In his latest essay for 99% Invisible, Kohlstedt unpacks the myriad ways in which a new building can engage with what was there before, highlighting examples which successfully and unsuccessfully take up the challenge. He acknowledges the difficulty of finding the sweet spot, as many designs are unable to navigate the "fine line between contextual and contemporary."