Citizens of central Europe, perhaps uniquely in the world, are used to a life of no borders and free movement between nations. Following two devastating wars fought primarily on European soil, the formation of the early European Union in the 1950s paved the way for a more liberal, less isolated continent. It was not until the signing of the Schengen Treaty in 1985 (which came into effect in 1995) that the majority of borders were truly dissolved and travelling between nations, cultures, and communities became as simple as walking down the road.
Ignacio Evangelista’s series of photographs entitled After Schengen examine the remnants of the old, abandoned crossing points that still exist across the Union. No longer necessary to maintain a country’s independent sovereignty, and almost twenty years since the revolutionary pact was ratified, these palimpsests of border control remain as striking today as when they when delineated the closed boundaries between nations.
See a selection of the collection after the break…
Architectural aid charity Article 25 has unveiled the drawings for its most important annual fundraising event, the 10×10 Drawing the City Auction. Featuring drawings donated by leading architects including Norman Foster, Ivan Harbour, Sheila O’Donnell, Terry Farrell and Ken Shuttleworth among many others, in previous years the 10×10 auction has raised over £90,000 for the charity, and this year it is hoped that it will top £100,000.
The 10×10 concept divides a section of the city up into a 10 by 10 square grid, with each participating architect assigned a section of the grid where they must find inspiration for an artwork. This year, the grid centred on the Shard, where this year’s auction will be held on November 27th. In the lead-up to the auction, bidding will also be available online from November 4th-25th, at the 10×10 website.
Read on after the break for another 20 of the pieces to be auctioned
d3 has announced the winners of its Natural Systems Competition for 2014, an annual competition that offers architects, designers, engineers and students the chance to investigate natural processes from the microscopic to macroscopic scale and propose innovative, nature-based solutions in architecture, urbanism, interiors and product design for sustainable living.
The jury, a panel of architects and designers engaged in sustainable practices and computational explorations, has this year selected a top three as well as eleven special mentions. Join us after the break for images from all 14 designs.
With the first ever World Cities Day taking place on Friday, the Guardian is partnering with UN Habitat for the Cities Day Challenge, a day-long competition where representatives of 36 cities around the world will present their best city ideas, with the winner being selected for an in-depth article in the Guardian. Judged by Ivan Harbour of Rogers Stirk Harbour + Partners, Toronto City Planner Jennifer Keesmaat; Anna Minton, Dan Hill, Usman Haque and Adam Greenfield, the Guardian will be live-tweeting the entire day.
They are also reaching out to readers to “share your photos, videos and stories of something brilliant that your city does better than any other,” some of which they will feature throughout the day. You can follow this link to contribute - or read on after the break as we take the opportunity to round up some of the biggest city ideas that have passed through the pages of ArchDaily.
Few of the architectural principles developed in the 20th century have been as widely accepted as the curtain wall, with the technology going from an implied feature of Le Corbusier’s Five Points of Architecture to the go-to facade treatment of architects worldwide. In this article, originally published on Australian Design Review as “Invisible Cities – The Last Remnant of Modernism,” Annabel Koeck argues that the curtain wall, initially prized for its glassy transparency, is now making buildings and even entire cities invisible thanks to its sheer ubiquity – at the expense of architectural expression.
Norwegian architects Snøhetta, based between Oslo and New York, designed the glass structure for the The National September 11 Memorial entry pavilion, which appears camouflaged against the backdrop of neighbouring glass curtain walls that define the New York skyline. Admittedly, Snøhetta’s pavilion was conceived by a very different brief, one defined by timidity and subtlety; yet paradoxically it was the curtain wall that facilitated this. Looking over the South Pool towards an array of glazed elevations that dominate the skyline it is ironic that a Modernist technique – the curtain wall – could now spell the end for architectural diversity in cities.
— Rob Fiehn (@Rob_Fiehn) October 22, 2014
The news that every single one of the 1,715 designs for the future Guggenheim Museum in Helsinki have been released via a new competition website was understandably something of a media storm earlier this week. As the largest ever set of proposals to be simultaneously released to the public, how could anyone possibly come to terms with the sheer number and quality of the designs – let alone all the other issues which the proposals shed light on?
In this instance, the answer to that question is simple: get help. Guggenheim Helsinki will arguably go down in history as the prototypical competition for the social media age, not just for releasing the designs to the public but for their platform which enables people to select favorites, and compile and share shortlists. In the days since the website launched, Twitter users have risen to the challenge. See what some of them had to say after the break.
Architects can do far more than design buildings. In fact, some of history’s most acclaimed innovators were not only architects, but also inventors. Leonardo da Vinci himself, the epitome of the Renaissance man, sketched buildings alongside ideas for flying machines. Buckminster Fuller was the ultimate futurist and invented the geodesic dome in addition to his Dymaxion Car, an automobile that was far ahead of its time. Now, an architect has developed “the world’s first hoverboard,” and the technology has far-reaching implications for not only transportation, but also buildings themselves. Read on after to break to learn more about what this technology could mean for the future.
“We need a new generation of cities in China” - Siegfried Zhiqiang Wu
As the tide of urbanization sweeps across most of the developing areas in China, the building frenzy has become a Chinese phenomenon. Some people are making money from it, some people are getting power from it, and some people are worrying about it. Recently, a new set of policies and reports have been published by the Chinese central government, and the whole society seems to be boosted by the new talk of a Chinese Dream. But, what is really happening inside China? Can it absorb this enormous growth? And, will urbanization continue in a proper way?
As the chief planner of the 2010 Shanghai Expo, Siegfried Zhiqiang Wu has been deeply involved for years in many of China’s main urbanization projects. It was almost midnight when we met Professor Wu in Shanghai, and although Wu had just gotten off a night flight from Beijing, his passion, frankness and intelligence remained undoubtedly impressive. In the following edited talk with interviewer Juan Yan, Professor Wu discusses China’s dramatic urbanization, its architectural culture and the future of smart cities.
Invited by the Municipal Arts Society (MAS) and the Regional Plan Association (RPA), Woods Bagot has created an alternative design for the future of New York‘s Penn Station which would allow Madison Square Garden to remain in its current location above the station’s entrance. The design, produced as part of MAS and RPA’s report into the future of the station, the design was unveiled yesterday at Penn 2023: Where will the Garden Go?, the first session of the Municipal Arts Society’s 2014 Summit for New York City, which discussed the possible options for the site at the end of Madison Square Garden’s current 10-year permit.
Though the report by MAS and RPA favors the idea of moving Madison Square Garden – identifying Farley Post Office’s Western Annex and the Morgan Postal Facility and Annex as potential new sites – it also says that “there needs to be a Plan B… In the event a deal between the state, city, railroads and Madison Square Garden does not get done in the next eight years, there needs to be a plan for improving Penn Station and the surrounding district with the Garden still in place.” This is where Woods Bagot’s designs come in.
Read on after the break for more on Woods Bagot’s proposal
“Let me tell you one thing. In this world we are living in, 98 percent of everything that is built and designed today is pure shit. There’s no sense of design, no respect for humanity or for anything else. They are damn buildings and that’s it.
“Once in a while, however, there’s a small group of people who does something special. Very few. But good god, leave us alone! We are dedicated to our work. I don’t ask for work. I don’t have a publicist. I’m not waiting for anyone to call me. I work with clients who respect the art of architecture. Therefore, please don’t ask questions as stupid as that one.”
This, followed by the middle finger, was Gehry’s response to a reporter asking the 85-year-old architect how he responds to the critics claiming he practices “showy architecture.”
Originally covered by El Mundo and translated by Gizmodo, the awkward confrontation happened at a press conference in Oviedo, Spain, which Gehry attended to receive the Prince of Asturias Awards for the Arts.
Emotions may have been running high considering this past week Gehry celebrated the opening of the new Fondation Louis Vuitton building which the critics have claimed to be not much more than a “spectacle.”
The competition for the new Guggenheim Museum in Helsinki closed last month, becoming the most popular architectural competition in history with 1,715 entries. Now, competition organizers Malcolm Reading Consultants have made every single one available to view online, with each anonymous proposal presented in a series of two images, and a short description fro the architects. “Since its inception, this competition has been organized to be welcoming, inclusive, and transparent, and the gallery presents a singular opportunity for the public to explore and consider the broad expanse of entries,” says Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation.
Competition organizer Malcolm Reading added: “For anyone interested in design, the gallery is a tremendous resource that offers rare insight into the design process and further illustrates how the vision for a Guggenheim Helsinki… [has] captured the imagination of architects around the world.”
And indeed, the website does provide a tremendous tool: with such a huge volume of entries, the database and its associated tagging system offer an interesting way to probe the architectural zeitgeist: for example, it seems ‘curved’ buildings are almost twice as popular as ‘straight’ buildings; and ‘opaque’ buildings are still unpopular, being outpaced by ‘transparent’ buildings by almost five to one, despite the traditionally opaque museum typology.
But when it comes to architectural quality, where do you even begin with 1,715 proposals? The competition’s website has that covered too, with a favorites button, a six-building shortlist tool and a search-by-registration tool. ArchDaily is here to help too: after the break, we’ve hand-picked 50 of the most exciting, unusual, interesting and simply absurd proposals for you to start talking about.
In the first part of their new micro documentary series on architecture and water, Ellis Woodman and a team at the Architectural Review (AR) have collaborated with architects, developers, urbanists and thinkers to examine the latent connections between water infrastructure and our built environment. Taking a journey by narrowboat through London, discussing a raft of radical ideas which may offer the keys to unlocking the potential of the river along the way, the films discuss how we might begin to shape the contemporary city’s relationship with its urban waterways. Can ”floating parks, amphibious houses, floodable public squares, new wetlands or brand new canals foster a more meaningful relationship between the citizen and the city’s waters?”
Siza’s Iberê Camargo Foundation and Herzog & de Meuron’s 1111 Lincoln Road Win Inaugural MCHAP Award
Álvaro Siza’s Iberê Camargo Foundation in Porto Alegre, Brazil and Herzog & de Meuron’s 1111 Lincoln Road in Miami, Florida have just been announced as the winners of the inaugural Mies Crown Hall Americas Prize (MCHAP).
MCHAP was established by the Illinois Institute of Technology (IIT) in Chicago to recognize the best built works in the Americas. As Kenneth Frampton noted when the finalists were announced in Santiago, Chile, the MCHAP Awards are the first time that an architectural prize has been approached, not in a trans-atlantic, horizontal manner, but rather vertically across the Americas.
Although initially the jury intended to select one work to be honored for the 2000-2013 period, they felt that both projects represented “an uncommon expressive display of structure,” and divided the 13-year period into two parts. Siza’s Iberê Camargo Foundation was selected as the 2000-2008 winner, while Herzog & de Meuron’s mixed-use parking garage was selected for the 2009-2013 period. The two winning projects were selected from a total of seven finalists by jury members Jorge Francisco Liernur, Sarah Whiting, Wiel Arets, Dominique Perrault, and Kenneth Frampton.
Learn more about the winning projects after the break.
Perched behind the fog that conceals Bogotá’s mountains is William Oquendo’s house. It is a labyrinth of doors and windows, wherein a bedroom opens into the kitchen and a bathroom vents out into the living room.
Five thousand 5,000 kilometers away in Rio de Janeiro, Gilson Fumaça lives on the terrace level of a three-story house built by his grandfather, his father, and now himself. It’s sturdy; made out of brick and mortar on the ground floor, concrete on the second, and a haphazard combination of zinc roof tiles and loose bricks on the third. The last is Gilson’s contribution, which he will improve as his income level rises.
On the other side of the world in Bombay (Mumbai since 1995), houses encroach on the railway tracks, built and rebuilt after innumerable demolition efforts. “The physical landscape of the city is in perpetual motion,” Suketu Mehta observes in ‘Maximum City.’ Shacks are built out of bamboo sticks and plastic bags; families live on sidewalks and under flyovers in precarious homes constructed with their hands. And while Dharavi—reportedly the largest slum in Asia—has better quality housing, running water, electricity and secure land tenure, this is not the case for most of the new migrants into the city.
In the great tradition of the RIBA Stirling Prize, the announcement of Haworth Tompkins‘ Everyman Theatre as the winner of the 2014 RIBA Stirling Prize took many by surprise. The Everyman surpassed the public’s favourite, Mecanoo‘s Library of Birmingham, and the bookies’ (and many critics’) favourite, O’Donnell + Tuomey‘s LSE Saw Swee Hock Student Centre - as well as two household names in Zaha Hadid‘s Aquatics Centre and Renzo Piano‘s Shard.
In what was seen by many as the strongest shortlist in years, the underdog Everyman has emerged victorious. But was it a worthy winner? Read on after the break to find out what the critics made of this unexpected result.
A little over a year ago, New York City-based graphic designer José Guizar started illustrating an obsession of his that had quickly grown since moving into the city: New York’s varied and eclectic windows. “A product of countless steps of journey through the city streets, this is a collection of windows that somehow have caught my restless eye out from the never-ending buzz of the city,” Guizar writes on his website. “This project is part an ode to architecture and part a self-challenge to never stop looking up.”
Others have since been inspired by Guizar’s colorful and captivating homage to the windows of NYC, and earlier this year São Paulo-based Nara Rosetto began her own weekly illustrations of windows in South America’s largest city.
Ranging from Victorian and porthole windows to windows with security bars, planting boxes and the occasional cat, the windows are as varied as the cities and buildings they occupy.
Read on after the break for a journey through the windows of New York and São Paulo.
Among the changes in material technology that are constantly altering the architectural landscape, one of the most popular – and most dramatic – is the idea of the timber skyscraper. And with vocal advocates like Benton Johnson of SOM and Michael Green leading the discussion with projects like the Timber Tower Research Project, the wooden highrise is on the verge of becoming a mainstream approach.
To further the conversation in the USA, the US Department of Agriculture, working in partnership with Softwood Lumber Board (SLB) and Binational Softwood Lumber Council (BSLC), has recently launched the Tall Wood Building Prize Competition, an ideas competition with a $2 million prize. To find out more about tall wood buildings, we caught up with Oscar Faoro, Project Manager of the competition. Read on after the Break for our interview and more details on how to enter.
These images from artist Xavier Delory show Le Corbusier’s celebrated Villa Sovoye in a shocking state of disrepair. With stones and spray paint, vandals have tragically defaced its pristine walls and windows. Don’t panic: the images shown here are photoshopped. But what if they weren’t? In this article originally published by Metropolis Magazine as “Modernism in Ruins: Artist “Vandalizes” a Le Corbusier Masterpiece,” AJ Artemel explores how our shock and dismay at such images exposes an underlying hypocrisy in our reverence for famous modernist works, and proposes that perhaps Modernism and vandalism are more closely related than we thought.