This article, by David Neustein and Grace Mortlock of Otherothers, explores a key paradox of the 2016 Venice Biennale: the disconnect between the geography of the topics on show and the geography of the Venice Biennale itself. With maps created by their students at the University of Technology, Sydney, they suggest new ways to explore the Biennale with Aravena's theme in mind.
The past month has seen a variety of potential topics of discussion - but when it comes to the most thoughtful comments, it seems ArchDaily users have been preoccupied with one theme: quality of life. From a discussion about micro-apartments, to a critical take on the supposedly "romantic" portrayal of favelas, and even to a prediction that soon the design of virtual reality will take precedence over the design of actual reality, it seems our readers have been thinking a lot about living conditions in many spheres of life. Read on to find out what they had to say.
When hearing the word “skybridge” or “elevated walkway,” what often comes to mind is a narrow, glassed-in pathway perhaps crossing between two office buildings or hospital concourses; a narrow artery whose only purpose seems to be keeping people dry and away from cars as they walk from meeting to meeting. But this wasn’t always the case - in the 1960s, skyways were seen as radical urban inventions that would bring city circulation into the 3rd dimension. Championed in the United States by architect Victor Gruen, following ideals espoused by both CIAM and Team 10 in Europe, the skyway movement took hold in cities all over the world with varying degrees of success, but rarely with the fluid connections between levels originally envisioned by its designers.
Many technological advancements have changed the way we design in the past 150 years, but perhaps none has had a greater impact than the invention of the passenger elevator. Prior to Elisha Otis’ design for the elevator safety brake in 1853, buildings rarely reached 7 stories. Since then, buildings have only been growing taller and taller. In 2009, the world’s tallest building, the Burj Khalifa, maxed out at 163 floors (serviced by Otis elevators). Though a century and half separates those milestones, in that time elevator technology has actually changed relatively little - until recently.
This article was originally published by The Architect's Guide as "The Two Qualities You Need For Architecture Career Success."
In a survey of 104 Chief Executive Officers reported in Success Magazine a few years ago, they were presented with 20 qualities of an ideal employee, and asked to select the most important.
86% of the senior executives selected two qualities as being more important for career success and advancement than any others:
Growing out of the success of coworking, the latest big phenomenon in the world of property is coliving. Like its predecessor, coliving is predicated upon the idea that sharing space can bring benefits to users in terms of cost and community. And, like its predecessor, there are already many variations on the idea with numerous different ventures appearing in the past year, each tweaking the basic concept to find a niche.
There are a lot of existing accommodation types that are “a bit like” coliving—depending on who you ask, coliving might be described as either a halfway point between apartments and hotels, “dorms for adults” or “glorified hostels.” And yet, despite these similarities to recognizable paradigms, countless recent articles have proclaimed that coliving could “change our thinking on property and ownership,” “change the way we work and travel,” or perhaps even “solve the housing crisis.” How can coliving be so familiar and yet so groundbreaking at the same time? To find out, I spent a week at a soon-to-open property in Miami run by Roam, a company which has taken a uniquely international approach to the coliving formula.
As the 2016 Venice Biennale is set to begin this upcoming Saturday, May 28th, the first glimpses of the pavilions have begun to roll in through the social media wires. In addition to the event’s main exhibition, curated by this year's Pritzker Prize winner Alejandro Aravena, there will be 63 exhibitions held in country pavilions throughout the grounds responding to this year’s theme of “Reporting From the Front.” We've taken to Instagram to round up the best sneak peeks of the exhibitions coming together at architecture’s preeminent event—read on to take a look.
In this new collaboration, originally titled "Architecture for the system and systems for architecture," Spanish architect and cofounder of the blog MetaSpace, Manuel Saga, reflects on the experience of developing (and taking on) a game where architecture plays a key role for the designer, and for the player. The case studies? No less than four major titles of our times: Starcraft, Age of Empires, Diablo and Dungeon of the Endless.
On MetaSpace we have introduced a general overview of the challenges that video game designers face when creating buildings, cities and even maps. This time we will go one step further: what happens when a game doesn’t offer a narrative or a fixed, open map, but rather an architectural system that the player can take control of? How does a design team respond to something like that?
Let's take a look.
In their semester-long project at Zaha Hadid’s final studio course at the Yale School of Architecture, students Lisa Albaugh, Benjamin Bourgoin, Jamie Edindjiklian, Roberto Jenkins and Justin Oh envisioned a new a high density mixed-use project for London's Bishopsgate Goodsyard, the largest undeveloped piece of land still existing in central London.
In early 2016, we introduced Vardehaugen, a Norwegian office that created a series of life sized drawings of their projects in their own backyard. After publishing this exercise on our site, Spanish architect and academic Alberto T. Estévez reached out to tell us that this same exercise has been carried out at ESARQ (UIC Barcelona) for the past 10 years with second and third year architecture students. According to Estévez, the exercise "represents something irreplaceable: it brings you closer to experiencing life-sized spaces of classic works of architecture" from the Farnsworth house to José Antonio Coderch's Casa de la Marina.
About 10 years ago I had an idea for a special teaching exercise, one that I thought would be interesting and instructive at the same time. So I started doing the practice class we’ve been talking about with architecture students in their second and third year of study at ESARQ (UIC Barcelona): the School of Architecture, which I founded 20 years ago as the first Director at the International University of Catalonia.
Now, we do the lesson every year in the Architectural Composition class that I teach, which discusses the theory and history of architecture.
Housing blocks come in all different shapes, sizes and layouts. So searching for the precedent that matches every category you desire can sometimes be a tedious process of clicking in and out of an unorganized list. Enter the Collective Housing Atlas, an online library of housing projects that is organized into categories.
With the opening of the 2016 Venice Architecture Biennale almost upon us, architects, curators and artists have already started to migrate to the city to unlock pavilion doors and sweep out the past six months of hibernation from the previous biennale season. This year, however, one pavilion has confirmed that it will remain closed – the Canadian Pavilion will not be opening its doors. Closure of the space has been attributed to a much-needed renovation, which has been mentioned by those who have exhibited in the space, specifically Shary Boyle at the 2012 Venice Art Biennale. Nevertheless, there are whispers that the political nature of this year’s entry may have been another reason to keep the pavilion shut. That said, Canada will be present by staking claim in the Giardini with a provocative installation entitled Extraction.
Sunlight has proven to be an excellent formgiver, with which architecture can create dynamic environments. The lighting design pioneer William M.C. Lam (1924-2012) emphasized in his book “Sunlighting as Formgiver” that the consideration of daylight is about much more than energy efficiency. Architects have now found numerous ways of implementing sunlight and the questions arises whether a coherent daylight typology could be a valuable target during the design process. However, many daylight analyses focus mainly on energy consumption.
Siobhan Rockcastle and Marilyne Andersen, though, have developed a thrilling qualitative approach at EPFL in Lausanne. Their interest was driven by the spatial and temporal diversity of daylight, introducing a matrix with 10 shades of daylight.
What do we mean when we say that our homes are “extensions” of ourselves? To put it more precisely, can a home be an extension of more than one person’s sense of “self”? And what happens when a single building is expected to be a home for two very different people? These are the questions asked in the project “Home at Intersection” by Netherlands-based architect Yushang Zhang.
Developed as a personal project in Zhang’s spare time Home at Intersection is, at its heart, as much a story told through architecture as it is an architectural design. The story chronicles the relationship of two young lovers as they embark upon a new chapter in their life together, building and then inhabiting their dream home. But much more than that, the project investigates themes of individuality and social bonds, using architecture as a medium to understand our hidden emotions.
Though it was once an essential element of all classical structures, the frieze has largely been left behind by architects looking for contemporary façade systems. But at the recently-opened addition to the Kunstmuseum Basel, designed by Swiss architects Christ & Gantenbein in collaboration with design group iart, the frieze returns with an eye-catching, technological twist, as hidden pixels within the facade light up to display moving images and text to those below.
As students, we aspire to become architects that get to work on great design projects. The truth is, for most of us, we end up at firms that don’t quite meet those expectations. That is the experience of the characters in our webcomic, Architexts, and if it’s yours too, we’d love to hear from you for our new book, Architects, LOL.
In terms of memorialization, being selected to represent your country as the face of a banknote is one of the highest honors you can achieve. Even if electronic transfer seems to be the way of the future, cash remains the reliable standard for exchange of goods and services, so being pasted to the front of a bill guarantees people will see your face on a near-daily basis, ensuring your legacy carries on.
In some countries, the names of the faces even become slang terms for the bills themselves. While “counting Le Corbusiers” doesn’t quite roll off the tongue, a select few architects have still been lucky enough to have been featured on such banknotes in recent history. Read on to find out who the 15 architects immortalized in currency are and what they’re worth.
In Granary Square, located in London’s King’s Cross, there is a fragment of the poem Brill by Aidan Dunn set into the ground, which reads: “King’s Cross, dense with angels and histories. There are cities beneath your pavements, cities behind your skies.” Anchored by the converted granary building and a rejuvenated stretch of canal, Argent’s ongoing King’s Cross development is an appropriate setting for Building on the Built, an exhibition which presents the work of London-based practice Jonathan Tuckey Design.