Alvaro Siza, winner of the 13th Venice Biennale Lifetime Achievement, created this structure in the gardens of the Arsenale, right next to another structure by Eduardo Soto de Moura that we will feature on a separate article. This follows the longtime collaboration of the two Portuguese masters.
Alvaro Siza’s structure establishes a relationship with a different aspect of Venice – that of the dense urban environment. Three faceted walls generate two intimate spaces in the middle of the garden designed for the 12th Biennale in 2012 by Piet Oudolf, a tribute to the compact urban tissue of Venice, which frames particular views of the exteriors of the Arsenale.
More photos after the break:
Curated by Toshiko Mori. All architecture must inevitably contend with history and gravity. These two forces are both fundamental and universal; to confront them is accordingly not only to take the crucial step in any attempt to reinvent the contemporary language of architect but to connect to a vast lineage of historical precedents, creating a platform for developing the discipline’s future as well as reflecting on its past. In Toshiko Mori’s case a series of dialogues with five American masters transpired from projects that required her to work next to, in addition to, or in reference to their creations.
Through these projects they discovered that close studies at the level of the detail create moments of complex interchange, both literal and historical, disciplinary and existential. The details presented here are wall sections, the interface between interior and exterior. This minimal one has always been contested: the twentieth century strove for a transparent boundary that could expose interior through psychoanalysis, while the twenty-first century attempts to erase that boundary through virtual space. And so these five pairs of “totems” express common technical and tectonic concerns even as they mark the historical transition of architecture from the pas, through the present, into the future.
The exhibit consists of 10 detailed sections of major architects such as: Frank Lloyd wright, Mies van der Rohe, Philip Johnson, Marcel Breuer, and Paul Rudolph.
More photos after the break.
The Danish Pavilion for the 2012 Venice Biennale will feature a collaboration between Greenlandic and Danish Architects called “Possible Greenland”. The exhibition will address the current development of the Arctic Region as Greenland undergoes a shift towards political independence and business development in the midst of dramatic climate changes. “Possible Greenland” attempts to look optimistically at the climate changes that are causing ice melts throughout Greenland. The shifting planes result in the exposure of vast mineral resources that can kickstart new industries and allow new urban cultures to emerge.
It is interesting to see how global warming is making Greeland a new center, as water around can now be navigable. But we have been warned. While 38 billions worth of oil can be exploted in the area, a disaster can cost way higher (the Deepwater Horizon spill costed 60 billion). The exhibitions approaches every angle to think about the possible future of Greenland. Visitors are exposed to all this facts in a series of diagrams, projects and videos, including a traditional Greenland house with smoked fishes which give the exhibit a particular atmosphere.
More details about this exhibition can be found in our previous article. More photos after the break:
The pavilion aspires to shed new light onto the status of Korean Architecture allowing the outside world to acquire a deeper and more in-depth understanding of what is currently relevant in the field of architecture in the country. “Walk in Architecture” expresses an idea and at the same time its paradox; it treats architecture as a place or a subject, like “Walk in Venice” or “Walk in a forest”. Walk is a collective action which combines associations: when you walk you think, you meditate, you observe, you dream, you wonder.
The exhibit is is supported by thin wooden supports, holding drawings, diagrams and video displays. Great examples from a country where pedestrians are taking more space than cars. This takes place at the Korean Pavilion at the Giardini, designed by Seok Chul Kim and Franco Mancuso in 1995.
I’m writing this post from Venezia, Italy, where ArchDaily has been for the past few days and will stay the whole week covering one of the most important architecture events: The 13th Biennale di Venezia.
This year the Architecture Biennale is directed by British architect David Chipperfield, who under the title Common Ground looks at the meanings of the spaces made by buildings: the political, social, and public realms of which architecture is a part.
The title ‘Common Ground’ also has a strong connotation of the ground between buildings, the spaces of the city. I want projects in the Biennale to look seriously at the meanings of the spaces made by buildings: the political, social, and public realms of which architecture is a part. I do not want to lose the subject of architecture in a morass of sociological, psychological or artistic speculation, but to try to develop the understanding of the distinct contribution that architecture can make in defining the common ground of the city.
The list of participants in this version of the Biennale include world renowned architects like Peter Zumthor, Zaha Hadid, Jean Nouvel, OMA, Alejandro Aravena, Alvaro Siza, Eduardo Soto de Moura, Paulo Mendes da Rocha, and Norman Foster, among others on a list of 200 offices.
During these days we’ve had the opportunity to visit and photograph several of the national pavilions and individual exhibits, and interview their curators. This coverage will start to be featured at ArchDaily in our dedicated page starting today. You can also follow us in real time in Facebook, Twitter and Instagram (@archdaily), where we have already uploaded part of our coverage.
Please forward any comments, requests for meetings or information related to the Biennale to firstname.lastname@example.org or using our contact form.
More photos after the break.
The 13th Venice Architecture Biennale is about to start, opening to the public on August 29th. ArchDaily is already in Venice preparing our intensive coverage during the press preview starting Sunday. On this video by the Biennale you can see a small part of the team’s efforts preparing this fascinating event.
More photos of the upcoming exhibits at the Giardini below:
Keeping the material library organized is a difficult task for many architects, let alone keeping it up-to-date with the latest, most innovative materials. Well, today we stumbled on this video, by The Economist, that highlights Andrew Dent, vice-president of Material ConneXion, and his thoughts on the evolution of material science. Material ConneXion has created the world’s largest resource for advanced, innovative and sustainable materials and processes. Their online archive and material libraries, based in seven cities world-wide, feature over 6,500 of the world’s most cutting-edge materials that are all commercially available for use.
Andrew Dent believes Material ConneXion will help bridge the gap between science and design as we move from the “synthetic century” into a “biological century”, where intelligent, nature-inspired materials consume less resources and less energy.
During the last few years the world has witnessed dramatic changes. Our world is no longer rural, economic models are struggling, and the centres of innovation and political power have shifted.
It is this context that explains why the recently held competition for the new Tehran Stock Exchange is relevant beyond the building. The Physical Development Research Center organized a competition between 29 top architecture firms, later narrowed down to eight after a RFQ process, who each worked with a local Iranian firm. In a country experiencing a very unique economic moment, the brief of the competition aimed to challenge the typology of the stock exchange in general, as well as factors that could alter this type to address cultural factors specific to its location. Thus, the firms were asked to look at how this program has developed throughout history while also undertaking a thorough analysis of the specifities of this project.
Alejandro Aravena (founder of Alejandro Aravena
Aravena’s entry stood out from the rest as it was conceptually distinct, aligned with the brief of the competition. Other highlights of this entry are its geometry, structural base, sensitivity to climate, and relation to its mountainous landscape, which are explained further in the architect’s description below:
A monolithic figure at a first glance, the building achieves a particular transparency thanks to the hollow blocks used on its skin, turning into a lamp that is transparent to the public.
The decision of the jury, while unanimous, is only a recommendation to the client, so we will keep you informed as the project moves forward.
Read the complete architect’s description, with renders and drawings, after the break:
“Rem Koolhaas: A Kind of Architect” (2008) filmed by Markus Heidingsfelder and Min Tesch, and produced by Arthouse Films, Rem Koolhaas: A Kind of Architect offers a “thought-provoking portrait of the architect”.
Rooted in theory, Koolhaas, a creative genius, has produced work that completely takes the field of architecture to the next level. At his best, Koolhaas’ projects are so conceptually compelling that his approach, aesthetic and building performance are unmatched. By constantly questioning the norm, Koolhaas can critically analize the existing to create a theoretical model that can be manifested into the physical realm. Although architecture came later in his life, Koolhaas has an innate ability to utilize every componenet of architecture, from circulation to structure, to strengthen his vision.
The documentary, featuring interviews from other architects and friends about Koolhaas, provides a look into his process and his influence on the field.
You can watch the full documentary on the above embed.
Google has updated its maps with hi res images of the Olympic Park and Village in Stratford (London, UK). The images were taken this past May, and let us see the whole picture of the master plan for London 2012. A big target of the investment for the games is to reconvert this former industrial zone in East London.
Share your creative responses in the comment section below:
Today we celebrate the 78th birthday of Michael Graves (born July 9, 1934).
Graves is one of America’s most influential figures in architecture and design. Part of the The New York Five, he played a key role in the transition between abstract modernism and post-modernism. His designs communicate a clear point of view reflecting a sense of playfulness with sophistication. The balance of traditional elements (typically through arches, columns, and pediments) and exploration with color convey the lessons of modern architecture while referring to historical details.
He started his own practice in Princeton, NJ in 1964, and has been a teacher at Princeton University for more than 40 years. Among his recognitions we can find the Felllow of the AIA (1979), the National Medal of Arts (1999), the AIA Gold Medal (2011), the AIA Topaz Medal (2010) and Driehaus Prize for Classical Architecture (2012). His works can be found in North America, Africa, Asia and Europe.
Michael Graves has also done a vast amount of work in the field of industrial design, including furniture, artifacts, jewelry and dinnerware for companies such as Disney, Alessi, Steuben, Phillips Electronics, Black & Decker, and his own line with more than 100 products for Target.
We celebrate his 78th birthday with an ArchDaily logo inspired by the St Coletta School in Washington D.C.:
More from Michael Graves at AchDaily:
Today, July 8th, is Philip Johnson‘s Birthday! (1906-2005)
The recipient of the very first Pritzker Architecture Prize in 1979 and the American Institute of Architects Gold Medal, Johnson has been labeled by Prtizker jurors as someone “whose work demonstrates a combination of the qualities of talent, vision and commitment that has produced consistent and significant contributions to humanity and the environment. As a critic and historian, he championed the cause of modern architecture and then went on to design some of his greatest buildings.”
On what would be his 106th birthday, ArchDaily celebrates with a special Glass House logo:
Declared a National Historic Landmark in 1997, The Glass House is still considered a modern marvel. Inspired by Mies van der Rohe’s Farnsworth House, the Glass House by Johnson, with its perfect proportions and its simplicity, is one of the first most brilliant works of modern architecture. Johnson built the 47-acre estate for himself in New Canaan, Connecticut.
The house was the first of fourteen structures that the architect built on the property over a span of fifty years.
Another iconic building designed by Philip Johnson, together with John Burgee, is the Puerta de Europa in Madrid, two leaning towers that have become an icon of the Spanish capital.
“We borrow from nature the space upon which we build.”
Now in its fifth year, the World Architecture Festival moves from Spain to Singapore (October 3rd-5th). And for this year, we are happy to announce ArchDaily as a media partner, and as part of the jury!
The architecturally intense event includes the awards and a festival gallery, with more than 700 entries from around the world in 30 categories, accompanied by live presentations from the finalists, a seminar and keynotes with renowned international architects. In these, and other activities (full summary), you will be able to exchange ideas with over 2,000 architects representing more than 65 countries, broaden your horizons and your contacts book.
Last day to submit your entries is June 30th, 2012.
Any projects completed between 1 January 2011 – 30 June 2012 can be entered or if you don’t have a completed project you can enter any future projects you have on the drawing board.
We have a special discount for our readers, more information after the break:
Architecture is a combination of sculpture and art and engineering and user interface. It is high tech and low tech at the same time, utilitarian and beautiful and virtually always budget constrained.
But do you know what great architects understand?
If you don’t get it built, the work doesn’t matter.
Great architects are able to be great because they know how to sell their ideas to their clients. (Or, they know how to find clients who will build their ideas. Same thing.)
If you’re brilliant and undiscovered and underappreciated (in whatever field you choose), then you’re being too generous about your definition of brilliant.
Here is our interview with Kevin Alter, founder of Austin-based firm Alter Studio architects. Not only is the Harvard graduate an internationally recognized architect, but he has also been a visiting critic, reviewer, lecturer and visiting professor for a number of institutions worldwide.
In addition to running his award winning practice, Alter is the Academic Director of Architecture Programs, Associate Dean for Graduated Programs, Sid. W. Richardson Centennial Professor of Architecture, Director of the Summer Academy in Architecture, and Associate Director of the Center for American Architecture and Design at The University of Texas in Austin, where he teaches graduate and undergraduate courses in design, construction and theory.
Projects from Alter Studio at ArchDaily:
Capilla del Retiro by Undurraga + Devés, winner of the Premio Internazionale di Architettura Sacra Frate Sole
The Capilla del Retiro (Retirement Chapel) by Chilean office Undurraga + Devés has been announced as the winner of the prestigious Premio Internazionale di Architettura Sacra Frate Sole, now in its 5th edition.
The award, given by the Frate Sole Foundation every four years, has been conferred in the past to architects such as Tadao Ando (Church of the Light, Church in the Water, Church in Rokko, 1996), Alvaro Siza (Santa María Church, 2000), Richard Meier (Jubilee Church, 2004) and John Pawson (Novy Dvru Monastery, 2008).
With this recognition the small concrete chapel formed by 4 concrete beams floating over a rustic excavation in Auco, Chile, joins a group of iconic contemporary religious buildings, where the delicate balance of light and matter are the common denominator.
The chapel rises as a confirmation of the extraordinary geography that surrounds it, while respecting the axes established by the series of preexisting buildings. Concrete is the main material of the building’s structure. Its volume, strictly economical, rises up from a crosspiece of 4 beams in the shape of a cross that is supported with the least possible structural elements so that its relationship with the ground is slight but sufficient. Shape and structure here are an indissoluble synthesis.
Under the strict geometry of the concrete a patio was excavated, whose rustic stone wall rises hazardously up and around the chapel, compressing and expanding that space of light. As a counterpoint to the magnitude of the geographic surroundings, the interior was designed in the shape of a wooden box recycled from old railway lines. This box hangs from the concrete structure and lies 2 meters under the beams that support it, limiting the view of the emptiness outside.
Learn more about the Capilla del Retiro in our previous article at ArchDaily.