Kengo Kuma (born 8th August, 1956) is one of the most significant Japanese figures in contemporary architecture. His reinterpretation of traditional Japanese architectural elements for the 21st century has involved serious innovation in uses of natural materials, new ways of thinking about light and lightness and architecture that enhances rather than dominates. His buildings don't attempt to fade into the surroundings through simple gestures, as some current Japanese work does, but instead his architecture attempts to manipulate traditional elements into statement-making architecture that still draws links with the area its built in. These high-tech remixes of traditional elements and influences have proved popular across Japan and beyond, and his recent works have begun expanding out of Japan to China and the West.
When it comes to applying for a new job, in any field, often the most difficult part is standing out from the crowd at the first stage. Fortunately for architects, in our field we have a tool that can help you to do just this: the portfolio. Unfortunately, according to Brandon Hubbard, many architects are getting it wrong when it comes to application portfolios. In this article, originally published on his blog at The Architect's Guide, Hubbard outlines six tips on how to create and submit a two-page portfolio that will increase your chances of getting a callback.
When applying to any architecture job I advise applicants to use the shortest portfolio possible. I have successfully applied to the top firms in the world with only a resume and a TWO PAGE portfolio. Most people are surprised by this, since the typical portfolios I see are in the 20-40 page range. To be clear I am only talking about the initial introduction to a firm, not the in person interview. For that I recommend a full length traditional portfolio.
For the first contact architecture application I recommend a “sample portfolio”, usually two to five pages long. Just like the resume, it is only a snapshot of your greatest work and experience.
Getting into a portfolio discussion is difficult because a lot of the final product is creativity based. Yet, I will cover several general guidelines to follow below when preparing and submitting a sample portfolio.
World Photo Day, to be celebrated on August 19th, is fast approaching. Last year we celebrated the occasion with a day of posts dedicated to the photographers who make ArchDaily - and indeed the architecture industry as we know it - possible, and this year we'd like to do something equally special with the help of our ArchDaily readers.
Using data from our My ArchDaily platform, we want to find out which photos are most popular among our readers, and then learn more about these images from the photographers who took them. To do this, we will take a selection of the images that have been bookmarked the most and then reach out to their photographers, asking them to share the story of how each image came together. So make sure to cast your "vote" for your favorite architectural image by bookmarking it in My ArchDaily!
Don't know how to bookmark photos in My ArchDaily? Find out after the break!
When it comes to the confluence of music and architecture, maybe the first thing that comes to mind is Goethe's claim that "music is liquid architecture." Goethe, however, was writing before the advent of MTV: music videos have become miniature films, attempting to capture all the tone, undercurrents and context of a particular song and translate them visually. Even better, the way music videos use architecture isn't the same as any documentary or film location; the camera attempts to mimic the way people listen to music by cutting and weaving around, designed for listeners as much as they are designed for viewers. Hence we see protagonists turning to the side, important elements placed away from the center and shots that both explore and disguise spaces in an attempt to fit the songs' acoustics to the setting.
What this means for us is that music videos can relate to architecture and capture its underlying tones in a way that a film might struggle to. For an architect wondering how the public truly understand and interact with a piece of architecture or remember a style, music videos are an untapped goldmine, since every setting location and filming choice show off how our wider culture relates to a building. Read on after the break for seven music videos that tell us a surprising amount about the architecture they feature.
Almost two months ago we put a request out to all of our readers who were completing the academic year to send us any built work that they may have completed as part of their studies. Our hope was to display the fantastic diversity of ideas and styles that is emerging from institutions across the globe, and the response that we got was fantastic. With almost 100 submissions, we received projects from countries as far afield as Chile, the United States, Norway and Japan. We also received everything from pragmatic projects such as a chapel for a disadvantaged community in Mexico or a low-budget sidewalk parklet, to wondrously bizarre constructions such as a steel worm that connects spaces through sound and an inhabitable haystack.
With the help of our colleagues at ArchDaily Brasil and all of ArchDaily en Español, we've compiled a selection of 26 of the most interesting, elegant or unusual projects from around the world - join us after the break to see what your international peers have been up to.
Best known for the Rusakov Workers’ Club and his own house, Russian architect and painter Konstantin Melnikov (August 3rd, 1890 - November 28th, 1974) has only recently received his due, now more than forty years after his death. He spent much of the twentieth century shunned by the Soviet architectural establishment, having refused to capitulate to the increasingly conformist (and classicist) prescriptions of Stalinism. As a result, he was forced to end his career only a decade after it started, returning to his other avocation as a painter and leaving in his wake only a precious few completed works.
As an architect, whether you’re storing large design files, sharing them with colleagues, syncing files to your tablet to show clients in meetings, or filing away confidential patent documentation, the benefits of the cloud are increasingly on your side. Because the architecture industry relies so heavily on collaboration throughout the course of a project, it seems like a natural fit for using the cloud but nonetheless, many architecture firms generally dissuade cloud adoption, largely due to concerns about security and the necessity of protecting intellectual property.
To be fair, these concerns are not entirely unfounded: After all, nearly a quarter of cybercriminals are intellectual property spies, hoping to sell your designs to a competitor or release confidential plans to the public. So when you work in an industry where intellectual property is your bread and butter, it’s essential to regularly address security concerns and maintain strong contingency plans.
Photographer Nikhilesh Haval of nikreations has shared with us this virtual tour of the 2015 Serpentine Pavilion. Taking viewers through a series of 360-degree panoramas shot on a mercifully sunny day, the tour shows off the pavilion's striking colors to good effect and gives some indication of the complex and dynamic arrangement of the design's double skin.
For those won't get the opportunity to visit for themselves, Haval's virtual tour is a great way to experience SelgasCano's psychedelic space as it gives a reasonable impression of what it feels like to actually be there. I can say that with some authority because, since I last wrote about the pavilion, I got the chance to visit it myself - and what I found was completely different to the pavilion I might have expected had I been taking cues from our comments section. I'd like to talk to our readers about that directly, if I may.
For most people, spending time outdoors in well-designed public spaces is one of the highlights to city life. Why, then, do we spend comparatively little time and money on designing them? In this article, originally posted on Metropolis magazine as "Designing Outdoor Public Spaces is Vital to the Future of our Cities" Kirt Martin, the vice-president of design and marketing at outdoor furniture designer Landscape Forms, makes the case that landscape architects and industrial designers working in the public realm are key for our cities' health and happiness.
All of us treasure our time in outdoor spaces. So why do we devote so little of our attention to their design?
As a designer in the site-furniture industry, I am always curious about the value people place on the outdoors. I like to ask people I meet to describe a great city like New York, Chicago, or Paris and what they most remember about being there. Or I ask them, if they won $25,000 to spend on a dream vacation, where they would go and what they would do. Their fond memories of a celebrated city or an escape into the wild often have little in common, except for one thing: Their most memorable and meaningful experiences almost always revolve around the outdoors.
It's that time of year when many graduates across the Northern Hemisphere are searching for jobs or internships - the time of year when many realize that there's a lot more to landing a solid position at a good firm than simply being a great designer. One of the largest hurdles they will encounter is the job interview, and while there is plenty of advice out there about job interviews in general, little of it is aimed directly at architects. In this post originally published on The Architect's Guide, Brandon Hubbard tackles the top five most common questions in an architecture job interview - and how to ace the answers.
The architecture profession has been steadily recovering since the downturn of 2009. The National Council of Architectural Registration Boards (NCARB) has released “NCARB by the Numbers,” their annual report featuring a positive trend for the architecture profession. This means more jobs for architects - assuming you can get through the interview of course...
ArchDaily is continuing our partnership with The Architectural Review, bringing you short introductions to the themes of the magazine’s monthly editions. In this introduction to the July 2015 issue, AR editor Christine Murray takes on "the most pressing issue of our time," the global housing crisis, asking "why don’t we shelter the homeless in empty housing? This crisis seems nonsensical when the postwar housing crisis was solved so efficiently."
The architect-designed home is a desirable commodity, that Modernist minimalist bungalow, all steel and glass with a large sofa, the Case Study House complete with swimming pool, MacBook Air and stunning view.
But there was once a different kind of architect-designed home, for people in need of shelter, not investments – and it’s sorely required now. Housing is the most pressing issue of our time, with one in every 122 people in the world either a refugee, internally displaced or seeking asylum – a record high, according to a UN report. Yet cash-strapped states do nothing, build nothing. They stand eyes averted, hands in their pockets.
As an architect, critic and winner of the 2002 Pritzker Prize Glenn Murcutt, (born 25 July 1936) has designed some of Australia's most innovative and environmentally sensitive buildings over a long career - and yet he still remains a one man office. Despite working on his own, primarily on private residences and exclusively in Australia, his buildings have had a huge influence across the world and his motto of "touch the earth lightly" is internationally recognized as a way to foster harmonious, adaptable structures that work with the surrounding landscape instead of competing with it.
Farnsworth House, the temple of domestic modernism designed by Mies van der Rohe as a weekend retreat for a Chicago doctor, is one of the most paradoxical houses of the 20th century. A perfectionist mirage, it floats like a pavilion in a park, but its history has been beset by plagues, floods and feuds. As the second installment of a series of three modernist classics presented by Archilogic, we’ve modeled the Farnsworth house so that you can see if—in spite of its austere reputation—it can be lived in after all. In this model you can explore the spatial arrangement of the house, and refurnish it with Eames chairs, deck it out with your IKEA favorites, or booby-trap it with children’s toys.
Grégoire Alessandrini’s blog “New York City 1990’s” contains an enormous collection of images taken between 1991 and 1998 that artfully depict New York. The website is a snapshot of New York in the 1990s, capturing the spirit of the era with photographs of New York’s architecture that could only exist at that time. As politics and public sentiment have changed, the city has changed with it, and much of the New York Alessandrini captured no longer exists.
To document just how much New York has changed in the past 25 years, we have curated a selection of Alessandrini’s images and set each photograph next to a Google Street View window corresponding to the photographer’s location at the time. In the photographs where Alessandrini observes from an elevated vantage point, the Street View images are as close as possible to the photographer’s location.
Read on after the break to see the images of New York’s dynamic change from the 1990s to 2015.
Ahead of the 125th anniversary of the birth of Russian architect Konstantin Melnikov, Photographer Denis Esakov provides a recent look at 12 of Melnikov’s projects—all of which have been standing for over 70 years. Enjoy this selection of photographs that show how some projects have aged, deteriorated or been adapted, and note Melnikov’s persistent fascination with the meeting of curvature and rectangularity.
ArchDaily is continuing our partnership with The Architectural Review, bringing you short introductions to the themes of the magazine’s monthly editions. In this introduction to the June 2015 issue, The AR's editor Christine Murray addresses the question:"has architecture lost its social conscience?" According to Murray, "the question has become an arthritis; a dull ache that improves or worsens depending on the weather."
For some, the social purpose of architecture is associated with the idealism of youth, to be shed like a snakeskin as the responsibilities of age take over. But there is still plenty of teeth gnashing and hand wringing. Even if architects are powerless to shape the economic and political context of their work, a building is still a place where people gather. A social purpose, whether for a school or an office tower, is still the driver of its design. And yet, when the paperwork and construction are done, the bureaucracy surmounted, the fees paid (or not), and a building is finally complete, it’s the people we strip away. When architecture is published and the critic’s verdict given, it’s the messiness of life we edit out.
Now at the halfway point of the six month long World Expo in Milan, in which 145 countries are participating in a concentration of national spectacle surrounding the theme of "feeding the planet," Rotterdam's Nieuwe Instituut (HNI)—the centre for architecture in the Netherlands—is exhibiting an altogether more reflective display of national civic pride.
Rotterdam, which was blitzed and decimated during the Second World War, is a place well suited to host an exhibition whose underlying theme centres on the fragile, often precarious notion of national self-image. Following the war Rotterdam was forced to rebuild itself, carving out a new place on the world stage and reestablishing its importance as an international port. Now, seventy years later, Rotterdam is a very different place. In demonstrating just how delicate the construction of a tangible national identity can be this latest exhibition at the HNI offers up a sincere speculative base for self-reflection.
Artist, architect and architectural theorist John Hejduk (19 July 1929 - 3 July 2000) introduced new ways of thinking about space that are still highly influential in both modernist and post-modernist architecture today, especially among the large number of architects who were once his students. Inspired both by darker, gothic themes and modernist thinking on the human psyche, his built work exercises influence far beyond proportion to its scale, and many of his unbuilt plans and drawings have gone on to inspire other projects and architects around the world. In addition, his drawing, writing and teaching - something he regarded as a duty which he did gladly - have gone on to shape the meeting of modernist and post modern influences in contemporary architecture and helped bring psychological approaches to the forefront of design.