Steven Holl Architects’ schematic design for the Taiwan ChinPaoSan Necropolis has been approved. The scheme, planned for an oceanfront property just 40 minutes from Taipei, will provide a new arrival hall to serve the complex’s 10,000 existing burial sites and an oceanic pavilion for an additional 150,000 ashbox sites.
More than 30 schemes were considered, however Holl’s watercolor explorations lead to the approved idea of intersecting spheres which, as the practice described, “yielded amazing overlapping perspectives that created an astonishing spatial energy.”
More about the 54,000 square meter Necropolis of ChinPaoSan, after the break.
Zaha Hadid Architects have unveiled their design for the Sleuk Rith Institute in Phnom Penh. The highly-anticipated project, commissioned by the Documentation Center of Cambodia’s (DC-Cam), will serve as Cambodia’s go-to archive for Khmer Rouge history and a leading center for genocide studies in Asia.
Five wooden towers, inspired by ancient Angkorian architecture, will house the institute’s “cross-section of pursuits,” including a genocide research center, graduate school, museum, document archives and research library. As the towers rise, the structures will interweave and link, connecting various departments above the ground level and uniting the institution as a singular whole.
A virtual tour through the institute, after the break.
From November 19-22 in Aarhus, the Media Architecture Biennale 2014 held in will feature the world premier of ”Mapping the Senseable City,” an exhibition of the now ten-year-old MIT Senseable Cities Lab’s collected works. The following essay was written by Matthew Claudel, a researcher at the Senseable Cities Lab, In response to this collection, exploring what the future holds for media architecture, and imploring it to explore ideas beyond “TV screens for living in.”
The Actuated Cathedral
Media architecture is emphatically ambiguous. The phrase has been pasted wholesale onto a dizzying array of projects and products. But beyond imprecision, media architecture is vexed by an inherent tension: media are networked, immediate, dynamic communication systems that reach people broadly, while architecture is sited, singular, and persistent in time. Reconciling the two evokes clumsy associations with Times Square, screens, integrated LEDs, paparazzi, or more generally things that flicker.
“The higher you get the lonelier the world seems.”
Seventeen-year-old Demid Lebedev, better known by his Instagram username Demidism, recently climbed to the top of 432 Park Avenue, capturing unprecedented views from what will be New York City’s tallest residential building. “I went to heaven and back,” writes Lebedev in one of the photo’s captions. Surrounded in fog, Lebedev captures views from distinct levels of the building, which is currently in its final stage of construction. 432 Park Avenue will top out at 1,398 feet, surpassing One57 and earning the crown as the city’s tallest residential building when it opens in 2015.
Yet following his climb, Lebedev was arrested and charged with criminal trespass and reckless endangerment, local press reported.
We caught up with Lebedev to learn what it’s like to climb to the top of the city’s tallest buildings and how the city changes as it extends upward. Read what Lebedev had to say and enjoy his stunning photos after the break.
Atelier 8000 has design a sustainable mountain hut for Slovakia’s High Tatras as part of the Kežmarská Chata (Kežmarská Hut) international competition. Seated on one of its vertices, the simple cube “evokes an erratic block left behind by the retreating glacier,” while it’s “sharp edges” blend into the mountain backdrop.
Teams from Mexico and Colombia have received top honors in the 2014 regional Holcim Awards for Latin America, an award which recognizes the most innovative and advanced sustainable construction designs. Among the top three winner is a Colombian water reservoir turned public park and low-impact timber rainforest center in Costa Rica.
The 12 recognized projects share over $300,000 in prize money, with the top three projects overall going on to be considered for the global Holcim Awards awards, to be selected in 2015.
The full list of Latin American winners, after the break…
With the opening of the final section of New York’s High Line last month, the city can finally take stock on an urban transformation that took a decade and a half from idea to reality - and which in the five years since the first section opened has become one of the great phenomena of 21st century urban planning, inspiring copycat proposals in cities around the globe. In this article, originally published by Metropolis Magazine as “The High Line’s Last Section Plays Up Its Rugged Past,” Anthony Paletta reviews the new final piece to the puzzle, and examines what this landmark project has meant for Manhattan’s West Side.
The promise of any urban railroad, however dark or congested its start, is the eventual release onto the open frontier, the prospect that those buried tracks could, in time, take you anywhere. For those of us whose only timetable is our walking pace, this is the experience of the newly opened, final phase of the High Line. The park, after snaking in its two initial stages through some 20 dense blocks of Manhattan, widens into a broad promenade that terminates in an epic vista of the Hudson. It’s a grand coda and a satisfying finish to one of the most ambitious park designs in recent memory.
In his lecture as one of winners of the Architectural League’s annual Emerging Voices awards, David Benjamin discusses his unique approach to environmental and computational design and how it manifests itself in the work of The Living, a firm he founded in 2006.
Throughout the lecture Benjamin discusses projects that are fundamentally linked to the natural environment and ideas related to sustainability. To introduce how the firm generates new ideas, Benjamin describes a method of experimentation developed in their practice called flash research: beginning with the idea that architecture could be dynamic and responsive, these are prototypes that operate under self-created constraints such as a budget of $1000 or less and a required time span of three months or less.
Read on after the break for further synopsis of the lecture.
In this video from the Louisiana Museum of Modern Art‘s Lousiana Channel, three acclaimed writers – Sjón, James McBride and Daniel Kehlmann – talk about their experience of Olafur Eliasson’s Indoor Riverbed at the Danish museum. Sjón describes how he felt when he saw 180 tons of rock from his home country of Iceland filling the room, saying “It was like a moment in a dream, when you enter a room and something is not right, but familiar.”
The writers reflect on the role of art itself, as Sjón states ”If art is to give answers at all, it should be confusing answers.” Watch the full video to learn more about how the installation impacts its viewers and successfully blurs the lines between art and nature.
The 2014 World Architecture Festival (WAF) has culminated with A21 studio’s The Chapel being named the Building of the Year. Each winner of the categories from day 1 and day 2 had the opportunity to present their projects in front of WAF’s ‘super-jury’, comprised of Richard Rogers, Rocco Yim, Julie Eizenberg, Enric Ruiz Geli and Peter Rich. Following all of the presentations, the jury selected the Building of the Year. The winners of the Small Project of the Year, Landscape of the Year and Future Project of the Year were also announced today, in addition to two new prizes: The Colour Prize (sponsored by AkzoNobel) and the Wood Excellence Prize (sponsored by American Hardwood Export Council).
Read on after the break for more information on the winning projects…
ArchDaily is continuing our partnership with The Architectural Review, bringing you short introductions to the themes of the magazine’s monthly editions. In this post, we take a look at AR’s September 2014 issue, which includes an examination of the sometimes difficult relationship between architecture and disability. Here, AR Editor Catherine Slessor argues that we should adapt our understanding of Le Corbusier’s Modulor Man to be more inclusive, asking “What happens when disability is not seen as a problem for architecture to solve, but as a potential generative impetus?”
From Vitruvius to Le Corbusier, the mathematical proportions of the human form have historically been used to shape and define architecture. Man is, essentially, the ultimate measure of all things. The famous Modulor Man was originally based on the height of the average Frenchman (1.75 metres, or 5 feet 9 inches) but was later increased to a more strapping 1.83 metres (6 feet) because of Corb’s penchant for English detective novels in which (literally) upstanding characters such as policemen, were always 6 feet tall.
This weekend, the first planning session of the Global Parliament of Mayors took place in Amsterdam: a platform for mayors from across the world, triggered by Benjamin Barber’s book: If Mayors Ruled the World: Dysfunctional Nations, Rising Cities.
In this book the current political system and its leaders is dismissed as dysfunctional. Defined by borders and with an inevitable focus on national interests, they are not an effective vehicle to govern a world defined by interdependence. Mayors, presiding over cities with their more open, networked structure and cosmopolitan demographics, so the book argues, could do it better.
It is of no surprise that this book has been welcomed by the same political class as the one it praises: mayors. As was apparent during the first planning session of the GPM: a conference about mayors, for mayors, attended by mayors, moderated by mayors and hosted by a mayor, all triggered by a book about mayors.
I recognize many of the book’s observations. Many mayors are impressive figures and time appears to be on their side. Nation states (particularly the large ones) have an increasingly hard time and, in the context of a process of globalization, cities, and particularly small city-states, increasingly emerge victorious. Cities have first-hand experience with many of the things that occur in globalization’s wake, such as immigration and cultural and religious diversity, and are generally less dogmatic and more practical in dealing with them.
So far so good.
The 2014 World Architecture Festival (WAF) officially kicked off in Singapore today, and the first group of award winners were unveiled, with Vo Trong Nghia Architects and AECOM among the 16 announced winners.
The winners of the remaining 11 categories will be announced tomorrow, and the festival will culminate on Friday with the World Building of the Year and Future Project of the Year awards, which will be selected by the festival’s ‘super-jury’: Richard Rogers, Rocco Yim, Julie Eizenberg, Enric Ruiz Geli and Peter Rich.
The winners of day 1 were selected from a shortlist that included practices from over 50 countries, and among the judges was ArchDaily’s very own David Basulto.
This year’s festival is taking place from October 1-3, featuring three days of talks, key-note speakers and networking opportunities. With “Architects and the City” as the overarching theme for this year’s main conference sessions, the festival will focus on the contributions architects can make to cities and how they affect – and are affected by – politics, infrastructure, planning communities and technology.
Click here to view the full shortlist and read on after the break for the full list of WAF’s day 1 winners.
In Berlin, Mies van der Rohe’s Neue Nationalgalerie has begun a new phase today with the opening of David Chipperfield’s intervention, a prologue to the imminent restoration which the famed British architect is about to undertake. Completed in 1968, the gallery was Mies’ last project and his final masterpiece; for nearly fifty years, nobody dared to touch it – until now. Marking this event is a large, site-specific installation, created by Chipperfield as an attempt to engage Mies in a spatial experiment (or perhaps a last, apologetic tribute to the 20th century master) moments before he is about to embark on a mission which will, inevitably, transform Mies’ ultimate legacy.
Rotterdam’s very own, MVRDV has completed the Netherlands’ first covered market: the Markthal Rotterdam. Unlike any other market in the world, the Markthal presents a new urban hybrid that unites a market hall with housing.
Within the hollow core of the 228-unit, “horseshoe-shaped” residential building is an expansive, 40-meter-tall public market, offering 96 fresh food stalls, 8 restaurants and supermarket. Colorful murals cover the arch’s vaulted interior, peering through the largest single glazed cable net facades in Europe, which enclose the market.
This sense of transparency and openness was key, as the Markthal is the driving force to the rejuvenation of the Laurenskwartier area and hopes to attract thousands of visitors each year.
A look inside, after the break.
When we evaluate the work of architects and other designers, we often treat it as if the design was created in a vacuum. It’s easy to forget that the vast majority of designs emerge from a collaboration between the designer and their client, and when it comes to the design’s success the input of the client can often be as important as the work of the designer. This creative relationship can be a difficult one to navigate, yet it is usually held together by a single document: the brief.
Released today, this half-hour documentary by director Tom Bassett entitled Briefly takes a long hard look at the brief, with architects Frank Gehry and David Rockwell, industrial designer Yves Béhar, illustrator and author Maira Kalman, marketing executive John C Jay and creative executive John Boiler all pitching in their experience with creative briefs, and recounting stories where, for better or for worse, the brief had a major effect on their work.
More on the documentary after the break
In their sixth Beyond the Building video, “Design That Heals,” MASS Design Group explores how architects can improve the lives and health of people everywhere. The video reveals how the work of MASS operates on various scales from everything to designing better furniture to influencing national policies. Their approach to humanitarian architecture begins by empowering the local community to take ownership of new projects, and in turn, bring about significant improvements in the quality of life in places that have previously been overlooked.
For example, talking about MASS Design Group‘s Butaro Hospital, Rwanda‘s Minister for Health Dr. Agnes Binagwaho says: “There’s this idea of equity to put a hospital, state of the art, in the middle of nowhere. It was not nowhere for everybody, because there are 300,000 people living there.” Watch the video above and get involved in the conversation on how architecture can go #beyondthebuilding.