In a profession all-too-often associated with and dominated by men, women have begun to carve a space for themselves in the architecture world – but still few are recognized as they deserve.
So Alice Shure and Janice Stanton, the founders of Amici Productions LLC, began work on a new documentary, Making Space: a visual register for future generations of architects that will document what is changing in architecture today and how these changes are affecting women.
After interviewing over 30 architects, Shure and Stanton selected five women, five “rising stars” to hi-light. The documentary will show their day-to-day lives as well as tell the stories of how they achieved success.
Thanks to a recent Kickstarter campaign, this project will soon be a reality. But to get your sneak peek into these five female pioneers, read on after the break.
Producers Monstro Filmes have shared with us a gorgeous animation: an homage to the city of Sao Paulo and its five major architectural icons.
São Paulo: 5 Grandes Construções (Sao Paulo: 5 Great Buildings) highlights the Martinelli Building, Banespa, MASP, COPAN and Unique. Clearly inspired by ”Chicago – Five Great Buildings,” by Al Boardman, the video uses simple, fluid lines to represent and reveal each building’s unique form.
We will be publishing Nikos Salingaros’ book, Unified Architectural Theory, in a series of installments, making it digitally, freely available for students and architects around the world. The following chapter posits that architecture’s geometric structure determines its “vitality,” a quality that should be the basis of architectural critique; it also explains If you missed them, make sure to read the introduction, Chapter One, Chapter 2A, and Chapter 2B first.
The perceived quality of life in buildings and urban spaces comes from the geometry (the form of structures on all scales, and their coherence), and how that geometry connects to the individual. It also catalyzes interactions among people — if it is done successfully.
The easiest way to perceive this quality of “life” is to compare pairs of objects or settings and judge intuitively which one has more “life”. After a series of such experiments, it becomes obvious that degree of “life” in architecture arises from geometrical structure.
Zaha Hadid turns 63 today, and the Dame has a lot to celebrate.
Since winning the Pritzker Prize in 2004, the first woman and Muslim to do so, Hadid’s career has been on an exponential trajectory. Before the prize, Hadid was better known for her extraordinary sketch-paintings of unbuilt works; particularly, her competition-winning entries for “The Peak” in 1982 and the Cardiff Bay Opera House in 1994. Zaha’s “flying” forms were so revolutionary, that some questioned if they could even be made reality – hence why the Opera House was ultimately rejected, for supposed ”uncertainties.” Indeed, before 1994, the only built project she could boast was the complex, deconstructivist Vitra Fire Station.
“Will Grand Avenue finally turn around? Most likely not until they make it a two-way, add more trees, bike lanes, and pedestrian amenities. Buildings alone can’t do it, no matter how daring, novel (or expensive) the architecture.” — Guy Horton, The Indicator, “Ten Years Later, Has the Disney Concert Hall Made a Difference?“
The latest controversy surrounding the Grand Avenue re-design, the long-awaited project to develop the stretch of land east of the Walt Disney Concert Hall, is the re-instatement of Frank Gehry, a move which occurred after the city of LA rejected plans from mega-developers Related Cos. (designed by Gensler in collaboration with Robert A.M. Stern) for being “overly commercial.” Of course, while the Related Cos. plans may have failed to wow the city, the decision to bring Gehry back to the project hasn’t exactly been embraced either.
A must-see article in Zócalo Public Square asks four urban planning experts, “what would you do with Grand Avenue?” In his latest ArchDaily column, Guy Horton offers his opinion: any re-design must rely on activating life on the street-level, rather than on one architectural solution. Well, ArchDaily readers, now we’d like to know your thoughts on the matter.
All too often when it comes to the issue of women disappearing from the architecture profession, the question is: why? But perhaps we really should be asking: how? How can we keep women in the profession? How can more women advance to positions of power? And how can women start earning the money they deserve?
Well, the best way for women to start earning more, is to start asking for it – and from the very beginning. With this in mind, ArchiteXX (“we ask how not Y”) is pairing up with the Wage Project, an organization dedicated to educating women about the importance of learning how to negotiate better salaries, to host two workshops in New York City on October 19th (one from 1pm – 3pm and the other at 3:30pm – 5:30pm).
ArchiteXX, whose web site will be launching soon, is the new name of “Women In Architecture,” a group dedicated to transforming the architecture profession for women. It’s co-founders are Nina Freedman, the Director of Projects for Shigeru Ban Architects, and Lori Brown, an architect, author and associate professor at Syracuse University.
Google’s secret development department, Google X (responsible for Google’s very cool, although non-core initiatives, such as Google Glass and driverless cars) is reportedly working on a new technology that could transform the construction industry – as well as architecture itself. It goes by the name of “Genie.”
According to Globes, a report from Genie’s development team, addressed to Google co-founders Sergey Brin and Larry Page, describes the invention as a cloud-based collaboration platform with “planning applications to help architects and engineers in the design process, especially for skyscrapers and large buildings. The platform includes planning tools of expert architects and engineers and advance analytics and simulation tools.”
The report also emphasized Genie’s potential to transform the conservative construction industry, one of the most profitable and the most wasteful, by making it more efficient and environmentally friendly at the level of design, construction, and maintenance. The report suggests the invention could save 30-50% in construction costs and 30-50% of the time spent between planning and market; moreover, it could generate $120 billion a year.
Turn the bend and the foreignness of the thing reveals itself, with its gunmetal-colored facade, surfaces jutting at oblique angles, and curves and lines that suggest automotive racing streaks or cooling pipes at a power-generation facility. It would fit right in with a fleet of Star Destroyers blasting some unfortunate rebel ship with turbolasers. — The Atlantic Cities’ John Metcalfe, describing Zaha Hadid’s Library and Learning Center in Vienna
When architecture and Sci-Fi are mentioned in the same breath, it’s usually only to achieve an amusing, surface-level comparison. Zaha’s library? A “Star Destroyer.” OMA’s Casa da Música? A Sandcrawler. And while these unlikely likenesses certainly speak to Sci-Fi’s hold on architecture’s imagination, they don’t really delve into the potential Sci-Fi holds as a source of architectural inspiration.
Enter CLOG: SCI-FI. As does each issue of CLOG, SCI:FI “slows things down,” taking a good-hard look at architecture and science fiction’s long, fascinating relationship. And while it certainly provides many entertaining meanders into comics, literature, and film (including a peek into 2001: A Space Odyssey by ArchDaily contributors INTERIORS), SCI:FI really shines when it’s digging below the surface, exploring how both architecture and sci-fi reveal the dilemmas, fears, and desires of our society today.
The view was produced by Taller de Casquería; Luis Rodriguez Carnero plays the protagonist.
From the architect. Through travellings, point perspectives, a main character and a plot trick, the film creates a catalogue of experiences that open up a path to describing architectural spaces without conventional cliches, without still photos, and amplifies the importance of the human scale in the communication of architecture.
You can see more of the house here.
The Los Angeles Times’ Christopher Hawthorne may have hoped for (and indeed hinted at the possibility) of Frank Gehry’s return to the Grand Avenue Project, the long-awaited plan to develop the stretch of land east of the Walt Disney Concert Hall, but now the speculation has finally become fact. Speaking last week at a panel discussion meant to commemorate the 10th anniversary of the Disney Hall, Gehry finally put the rumors to rest.
More details, after the break.
In 2002, Magda Mostafa, a then-PhD student at Cairo University, was given an exciting project: to design Egypt’s first educational centre for autism. The young architect set herself down to the task of researching into autism design, certain she’d soon find guidelines and accessibility codes to direct her through the process (after all, about one in every 88 children is estimated to fall into the autism spectrum).
But, as Mostafa told me, “I had a rude awakening; there was virtually nothing.”
So she started setting up studies to gather the evidence she’d need to come up with her own guidelines. And she was breaking ground: a study she completed in 2008 was “among the first autism design studies to be prospective not retrospective, have a control group, and measure quantifiable factors in a systematic way.”
Since those uncertain beginnings, Mostafa has positioned herself as one of the world’s pre-eminent researchers in autism design. Her latest work, summarized in “An Architecture for Autism,” the journal IJAR’s most downloaded article in 2012, outlines Mostafa’s latest accomplishment: the Autism ASPECTSS™ Design Index, both a matrix to help guide design as well as an assessment tool “to score the autism-appropriateness of a built environment” post-occupancy. In the following interview, we discuss the Index, the potential of evidence-based design for architecture, and what it’s like to break ground (and try get funding) in a country where ”black-outs, security threats, water shortages and unbelievable traffic” are everyday occurrences.
The Miami Design District, an 18 square-block neighborhood between Miami’s downtown and South Beach, has announced that the facade of its new mixed-use retail building will be designed by Sou Fujimoto. The two-floor, 17,000 square foot structure, which will feature “an elongated series of glass fins extending from the rooftop down to the open courtyard,” will create unique pedestrian arcades covered by a “structural waterfall.”
The Miami Design District, owned by Miami Design District Associates, aims to combine commerce with high-quality design, fashion, art and architecture, and has chosen Fujimoto on the merit of his past award-winning works, from House N in Tokyo, to the Musashino Art University & Library, to – most recently – his design of the Serpentine Gallery Pavilion in London.
The Russian Ministry of Culture has announced the shortlist of 10 architecture firms who will compete to design the museum and exhibition complex of Moscow’s new National Centre for Contemporary Arts (NCCA). The NCCA, currently housed in a former factory in central Moscow, will be moved to Khoydynskoye Pole, a former airfield in northeast Moscow, as part of a larger urban planning project to develop the area.
Ten firms were selected to advance to the second stage of the competition: five on the merit of their experience and portfolio; five on the merit of the preliminary architecture concepts submitted to the jury. See the shortlist, after the break…
Johnson Fain and Rios Clementi Hale Studios have been selected to transform Philip Johnson’s 1981 Crystal Cathedral, originally a Protestant mega-church, to make it more in keeping with its new, Catholic identity.
The Cathedral, which had filed for bankruptcy in October 2010, was bought in early 2012 by the Roman Catholic Diocese of Orange. Earlier this month, the architects were chosen for the renovation: Johnson Fain will focus on the interior, while Rios Clementi Hale Studios will oversee the masterplan of its 34-acre campus.
The AIA President, Mickey Jacob, FAIA has just released the following statement on the US government’s historic shutdown: “The design and construction industry is slowly recovering from one of the worst economic crises in modern history. The last thing we need is the self-inflicted wound that can potentially further damage the economy.” To find out just how the shutdown could affect you, check out the AIA’s FAQ page here.
The AIA has decidedly found its latest buzz word: Resiliency.
Just this week at the 2013 Clinton Global Initiative Annual Meeting, former-president Bill Clinton announced the American Institute of Architects’ participation in the 100 Resilient Cities Commitment: an initiative of the Rockefeller Foundation to provide 100 cities with “chief resilience offers,” responsible for developing and financing new, resilient urban infrastructures. So far, over 500 cities have requested to participate; on December 3rd, the Rockefeller Foundation will announce the winning cities.
Along with Architecture for Humanity, the AIA will then train those cities’ resilience officers, “architects in their communities,” by creating “five Regional Resilient Design Studios that build on our profession’s collective expertise in helping communities recover in the wake of major disasters.”
But the “resilience” doesn’t stop there.