B 018 is a music club designed by Bernard Khoury Architects, a place of nocturnal survival. In the early months of 1998, the B 018 moved to the “Quarantaine”, on a site that was better known for its macabre aura. The “Quarantaine” is located at the proximity of the port of Beirut. During the French protectorate, it was a place of quarantine for arriving crews. In the recent war it became the abode of Palestinian, Kurdish and South Lebanese refugees (20,000 in 1975). In January 1976, local militia men launched a radical attack that completely wiped out the area. The slums were demolished along with the kilometer long bordering wall that isolated the zone from the city. Over twenty years later, the scars of war are still perceptible through the disparity between the scarce urban fabric of the area and the densely populated neighborhoods located across the highway that borders the zone.
The Architecture and Transformation of elBulli / From World’s Best Restaurant To Culinary Research Foundation
Food is as much about architecture as it is the concept of taste. With food comes the sum of its parts to create the whole, the great attention to detail and the emotion of first bite like that of entering a memorable space for the first time.
Jorge Louis Borges says, “The taste of the apple lies in the contact of the fruit with the palate, in the fruit itself, in a similar way poetry lies in the meaning of the poem and the reader, not in the lines of symbols printed on the pages of a book. What is essential is the aesthetic act, the thrill, the almost physical emotion that comes with each reading.”
Ferran Adria, the master chef of elBulli, which has religiously been called the Best Restaurant in the World, has a heideggerian approach to food, cooking, and the physical act of eating. Similar to that as architects with the same heideggerian approach and the concepts of material, making, and the experiencing of space. Like Jorge Louis Borges and heideggerian architects, Ferran Adria crosses the realm of cooking and enters the presence of wholeness of experience. Transforming the traditional means of eating and elevating them to a memorable moment where memory, experience and taste meet.
Continue reading for more in-depth information.
Architecture firm Line and Space, has been selected as the 2011 Architectural Firm of the Year by the Arizona Chapter of the American Institute of Architects (AIA). The award recognizes a firm that has produced distinguished architecture for over ten years, has made significant contributions to the profession and the community, and has transcended local boundaries in making these contributions. Awarded by an out of state jury comprised of architects, the honor was given to Line and Space at the Institute’s Celebrate Architecture Awards Gala held in Phoenix on October 22.
The annual AIAS FORUM meeting for 2011 will take a break from the snow of the past two years (2009 Minnesota, 2010 Toronto) and be held in sunny downtown Phoenix, Arizona. FORUM is the annual meeting of the AIAS and the premier global gathering of architecture and design students. The conference provides students with the opportunity to learn about important issues facing architectural education and the profession, to meet students, educators, and professionals with common interests, and to interact with some of today’s leading architects through keynote addresses, tours, workshops and seminars, last years FORUM was attended by over 1,000 young and ambitious architecture students and AIAS members. This years Keynote Speakers will be Jeffrey Inaba, founder of C-Lab and former project manager with Rem Koolhaas and OMA, Brad Lancaster, author of www.harvestingrainwater.com, and University of Californa, San Diego architect and professor Teddy Cruz.
BDP has completed a masterplan study in Samara, the sixth largest city in Russia, won against strong international competition earlier this year. BDP was masterplanner, architect, landscape architect and sustainability consultant supported by WSP highways and Davis Langdon cost consultant for client Samara-Center, reuniting the same core masterplan team as the Stirling Prize shortlisted Liverpool One Masterplan.
The future potential to build and realize the concepts of the human mind lie just there, within the potential of the human mind. For years the architectural world has been struggling to keep up with the ability of pen-to-paper and the recent advents in NURB surface computer modeling, algorithmic and parametric architecture. This in-return has led to the building and technology industry playing catch-up with the recent advances in 3D architectural visualizations. In fact, as computer-aided design invaded these practices in the 1980s, radically transforming their generative foundations and productive capacities, architecture found itself most out-of-step and least alert, immersed in ideological and tautological debates and adrift in a realm of referents severed from material production.
On October 2nd Zaha Hadid Architects launched their much anticipated (to us architecture nerds anyways) iPhone and iPad App, made available through Apple and iTunes. This new App will allow users to browse through ZHA current portfolio of design and architecture. In a future update to the App there will be exclusive access and insight into some of the award winning buildings in the form of interactive guides (coming soon) to be used when visiting Zaha Hadid’s buildings.
Saemangum is the name for the newly reclaimed area on the west coast of Korea by the architecture and urbanism firm poly.m.ur. It has been the country’s most anticipated reclamation project of recent years and promises enormous new opportunities for cultural commercial developments in the region. The brief was to provide an exhibition space to commemorate the completion of the work and showcase the visions and plans for this new land. The concept of the design was inspired by the lost mud flat in the area as the result of reclamation. Analogous to the mud flat, the building was designed to act as a ‘living field’, which breathe environment, programs, and activities.
For those of you who may not know who Simon & Garfunkel are (don’t worry I wouldn’t admit to it either), they were an American duo consisting of singer-songwriter Paul Simon and singer Art Garfunkel. Most notably known for their hit single “The Sound of Silence” and also for their music being featured in the film The Graduate which featured another one of their hits “Mrs. Robinson”.
Simon & Garfunkel rose to critical and commercial success between 1960 and 1970 when they recorded their final studio album Bridge Over Troubled Water which included the song “So Long, Frank Lloyd Wright”. The origins and meaning of this song have long been debated, one argument is that the song is a dedication to Frank Lloyd Wright from Art Garfunkel who was himself a former architecture student, and the other argument is that the song served as a hidden farewell between Simon & Garfunkel since this would be their final album together. Evidence can be found within the lyrics of the song that says, “I remember the nights we’d harmonize till dawn, I never laughed so long, so long, so long…” The repeated use of the “so long” can be interpreted as a goodbye between the two.
What do you think were the intentions behind this song…?
So long, Frank Lloyd Wright.
I can’t believe your song is gone so soon.
I barely learned the tune
I’ll remember Frank Lloyd Wright.
All of the nights we’d harmonize till dawn.
I never laughed so long
Architects may come and
Architects may go and
Never change your point of view.
When I run dry
I stop awhile and think of you
So long, Frank Lloyd Wright
All of the nights we’d harmonize till dawn.
I never laughed so long
Jeju is an island formed by volcanic activities and celebration of its distinctive geological features was one of the main objectives of the brief. The design started from answering the brief which explicitly requested that the scheme to symbolise the volcanic landscape of Jeju consists of caves and mounds. poly.m.ur viewed these two geological feature in terms of their morphological forma-tions – one as constructive space (volcanic mounds) and the other one as subtractive space (volcanic caves), and were repre-sented in the formation of the massing of our scheme.
The design of the new Jeju Cultural Heritage Centre started from an attempt to interpret the cultural value of the traditional artifacts that are to be exhibited here with contemporary view. poly.m.ur was intrigued by the fact that these artifacts are exemplary in showing the influence of regional material on the life of early settlers, and they wanted their proposal to be seen as an object which can symbolize the local characteristics shaped by the abundant availability of basalt as raw material and the indigenous techniques of tool making.