In case you missed it, we’re re-publishing this popular post for your material pleasure. Enjoy!
To celebrate the recent launch of ArchDaily Materials we’ve brought together five projects with fantastic façades, from Viñoly’s Dolby Regeneration Medicine Building in San Francisco to Holzer Kobler’s PALÄON in Schöningen, Germany. A building’s envelope is often people’s first impression and, in recent years, have been one of the focuses of innovation in the design and construction industry. The projects we’ve collated show a glimpse at what’s possible with façades and wall finishings.
Interiors is an online film and architecture journal published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors runs an exclusive column for ArchDaily that analyzes and diagrams films in terms of space. Their Official Store will carry exclusive prints from these posts.
Spike Jonze’s fourth feature film, and his fourth feature film collaboration with production designer K.K. Barrett, creates a future world that is both intimate and immersive.
Her (2013), which was filmed in Los Angeles and Shanghai, uses the architecture of both cities to construct a world of its own. Jonze and Barrett, however, chose not to approach the film from a design or architectural perspective; rather, they were interested in reflecting the emotional qualities of their protagonist Theodore Twombly (Joaquin Phoenix) through the production design. Barrett points out that although the future feels distant and foreign for us, “The future is also someone’s present, our character’s present.” Thus, science fiction elements are grounded in reality, and the future world of Her was designed with those ideas in mind.
In an exclusive interview with Interiors, K.K. Barrett discussed his approach as an artist to both the medium of cinema in general and Her in particular. Learn more after the break.
When The Guardian recently asked Zaha Hadid about the 500 Indians and 382 Nepalese migrant workers who have reportedly died in preparations for the 2022 World Cup in Qatar, the architect behind the al-Wakrah stadium responded:
“I have nothing to do with the workers. I think that’s an issue the government – if there’s a problem – should pick up. Hopefully, these things will be resolved.”
Asked whether she was concerned, she then added:
“Yes, but I’m more concerned about the deaths in Iraq as well, so what do I do about that? I’m not taking it lightly but I think it’s for the government to look to take care of. It’s not my duty as an architect to look at it. I cannot do anything about it because I have no power to do anything about it. I think it’s a problem anywhere in the world. But, as I said, I think there are discrepancies all over the world.”
Do you think it’s an architect’s duty to concern him/herself with the rights of the construction workers building their designs? Let us know in the comments below.
ArchiPlan has won first prize in an international competition for a contemporary art museum designed solely for the work of Korean painter Kim Tschang-Yeul. Slated for completion in 2015 on the volcanic Jeju Island, a province in South Korea, the single-story museum is designed to be the physical manifestation of Kim’s philosophy regarding the water drop.
“We spent a long time understanding [Kim] – understanding his life, intention and his philosophy,” described the architects. “It is necessary to transform his philosophy into a constructed architectural space.”
After an open competition that sought to attract “the very best British architecture can offer,” six architects – including Zaha Hadid and Richard Rogers – have been selected as the potential architects of the project to rebuild the Crystal Palace in south London. See the full shortlist after the break.
The developers behind Studio Gang’s Solar Carve have withdrawn their request for a zoning variance that would have allowed for an increase in the tower’s rentable space. The Board of Standards and Appeals rejected the solicited exception, despite the developer’s claim that the expensive pilings necessary for the sandy, non-bedrock site adjacent to New York’s High Line posed a “financial hardship.”
Studio Gang’s 213 foot tower was slated for completion in 2015. Although “the bid for additional floor has been dropped from the application,” said the project’s land use attorney, a hearing for special permitting that will allow for a modified setback is scheduled for March.
In this article, originally published on the Australian Design Review as “Longing For a Greener Present“, Ross Exo-Adams examines the fear that lies behind the trend toward sustainable urbanism, and finds that the crisis we find ourselves in might not only be confined to an ecological one.
Over the past decade, architects have found themselves increasingly commissioned to design districts, neighbourhoods, economic free zones and even entire new cities: a phenomenon that has been accompanied by a commitment to ‘sustainability’, which now seem inseparable from urban design itself. While ‘sustainability’ remains a vague concept at best, it nonetheless presents itself with a sense of urgency similar to that which galvanised many of the great movements of modern architecture vis-a-vis the city. Underlying such urgency is a rhetorical reference to a collective fear of some palpable sort, whether it be fear of revolution (Le Corbusier), fear of cultural tabula rasa (Jane Jacobs, Team X) or our new fear: ecological collapse. It is obvious that the myriad ‘eco’ projects that have popped up all around the world would not be viable if not for the fact that they appear against a background of imminent catastrophe – a condition of terrifying proportions. Yet the essence of this fear is far from clear. Indeed, in light of ecological catastrophe and amidst any fetish for windmills or vegetation, architects have cultivated what seems to be a curious nostalgia for the present – a pragmatism whose lack of patience for the past seeks a kind of reconstitution of the present in imagining any future. So if not for climate mayhem, what is the true nature of fear that lies at the core of today’s urban project, ‘ecological urbanism’?
Find out after the break
In this article, originally published by Arup Connect as “Anthony Townsend on Smart Cities“, Townsend discusses his book “Smart Cities: Big Data, Civic Hackers, and the Quest for a New Utopia” and explains how, in his view, the push towards smart cities is being led by the wrong people – namely technology companies with short term goals; the architects, planners and scientists who should be leading this change, however, often struggle to share their knowledge.
Your book argues that there’s a need for grassroots action rather than top-down, corporate-led implementation of smart cities. How do you see architects and engineers fitting into this picture?
Architects and engineers for the most part have to serve the interests of their clients. There’s a balance that has to be struck, almost on a project-by-project basis, about how much they can push back in saying a piece of technology related to the business model for the project, or even a placemaking strategy, has unintended consequences, or that there may be a more democratic or innovative approach.
A lot of the vision of smart cities has been shaped by IT engineers and marketers. The problem there is not just that it’s sort of a naïve vision being pushed by companies with very short-term sales goals. It just doesn’t appreciate the complexity of good urbanism, and the role that both communications and information play in creating good places that people want to buy, work, live in.
Read more about the challenges facing smart cities after the break
The winners of the 2014 ArchDaily Building of the Year Awards represent not just an amazing group of buildings, but the best architecture of today. Over four weeks, over 60,000 ArchDaily readers selected 14 stunning winners by up-and-coming architects, like FT Architects, who constructed an intricate Sports facility from locally sourced timber, leaders in community design, like Auburn University’s Rural Studio, who designed and built a civic space for an Alabama community, internationally recognized offices such as BIG, WOHA, and Aires Mateus, and more.
Learn more about this year’s winners, and the BOTY Awards in general, by checking out our AD original infographic, presented by ArchDaily and our partners at HP, after the break.
In this interview, originally published in Metropolis Magazine as “The Charms of Suburbia“, Martin Pedersen interviews Robert A.M. Stern about his new book, “Paradise Planned: The Garden Suburb and the Modern City“. Pedersen’s interview delves into the history behind the Garden Suburb – a typology that is distinct from the stereotype of suburban sprawl.
Robert A.M. Stern is nothing if not counterintuitive. How else do you explain—in an increasingly digital and urban-centric world—his recently released book, a 1,072-page tome, containing more than 3,000 images, on the history of the garden suburb? Paradise Planned: The Garden Suburb and the Modern City (the Monacelli Press, 2013) was written with longtime, in-house collaborators David Fishman and Jacob Tilove, who also worked with Stern on the ﬁfth volume of the architect’s epic New York series.
Paradise Planned is similarly expansive. “The book grew like Topsy,” Stern says. “We’d think we had all the examples down, and a new one would pop up. So it just got bigger and bigger. And I thought: if we’re going to do this book, we really ought to do it as the deﬁnitive text. Now, it’s not forever text. People will always be adding things. But this is a pretty comprehensive view.” I recently talked to Stern about his new book, the folly of “landscape urbanism,” and the lessons learned from the garden suburb.
Read on for the rest of the interview
Maria Smith, shortlisted for The Architect’s Journal’s Emerging Woman Architect of the Year, has just published an article in The Architectural Review titled “Why do Women Really Leave Architecture?” – an article that, like many over the last year, attempts to tackle the tricky question of why women (who make up over 40% of architecture students in the US but only 23% of the profession) leave architecture. For the first few paragraphs, I was nodding in agreement, eagerly reading something that - finally - promised to offer a different perspective on the “women in architecture” question.
Unfortunately, a few paragraphs later, all that promise falls terribly flat. Smith spends a good amount of time setting up a fabulous argument, and then – disappointingly – falls into the very traps she was hoping to break wide open. By the article’s conclusion, I was less satisfied than when I started, wondering: is this even the right question we should be asking?
Louis Kahn, the American architect known for combining Modernism with the weight and dignity of ancient monuments, was born 113 years ago today. His contemporary Philip Johnson once said of him that “he was his own artist. He was free, compared to me.”
Kahn might be categorized as a late Modernist, and a hugely influential one at that. He is perhaps best known for the Salk Institute, the National Assembly Building of Bangladesh, the Exeter Library and Kimbell Art Museum. His last completed design, for the Four Freedoms Park in New York, was also finally completed in 2012
The impression he left as an individual is equally as mythical. His sometimes esoteric but always insightful understanding of architecture led to him to being often described as a ‘mystic’ or a ‘guru’, and a complex private life inspired his son to film the Academy Award Nominated documentary “My Architect” in 2003.
On the occasion of his birthday, we think there is no better celebration than to rediscover his stunning catalog of works - see them all, after the break.
At ArchDaily, we think that Bjarke Ingels is one of the most inspiring architects practicing today. Having found success at a relatively young age, Bjarke has never shied away from embracing his YES IS MORE philosophy. His conspicuous enthusiasm for the potential of architecture and design sets him apart from his peers. And it is precisely this go-to attitude that has allowed him to overcome some of the significant limits that face many young architects today. An impressive portfolio of both built and upcoming projects shows that his approach to design, though sometimes criticized, is profoundly impacting the social environment of architecture.
On running an office, Bjarke says that “you have the opportunity and the responsibility to create the work environment that you would like to work in.” He has modeled his firm as a type of organism that is able to adapt to growth and change. In the interview, Bjarke explains that not only does his own role constantly evolve, but that the success of BIG is contingent on the invaluable contributions of his partners. BIG is more than just Bjarke.
We also asked him to define architecture (“the art and science of making sure that our cities and buildings actually fit with the way we want to live our lives”), and to give students advice about pursuing a career in architecture. Be sure to read the full interview after the break.
The photographer’s series explores that symmetry in Bo Bardi’s brutalist design, in which two colors, red and concrete-gray, unite harmoniously.
See more of Pires’ images, after the break…
As the most ambitious architecture exhibition hosted by the Royal Academy of Arts in a generation, Sensing Spaces was inevitably going to be under a lot of scrutiny from architecture and art critics. According to the Academy’s Chief Executive Charles Saumarez-Smith, the momentous exhibition “represents a shift away from postwar modern architecture where it was about problem solving, to thinking about architecture in terms of experience, material, light and space.”
Fortunately the exhibition seems to have struck a chord with critics, who have almost universally praised the exhibition’s premise and have, to varying extents, been highly complementary about the individual exhibits.
Read on after the break for a round-up of the critics’ opinions