In his latest series, ARCHIWINDOW, Federico Babina draws some inspiration perhaps from the headline exhibition the Venice Biennale, investigating some of the most famous window designs architecture has to offer. Babina simply says it is ”a little reflection about architecture and the elements that compose it.”
The images reveal how expressive the element of the window can be, as many of the 25 signature designs will be instantly recognizable for die-hard architecture fans, while others may reveal a previously-unrecognized trend in the work of a particular architect.
“The windows are the eyes of architecture. Through the windows enters the light and shadow that creates spaces. The windows invite us to enter the landscape, and are the cracks through which to spy on architecture,” writes Babina. “I tried to transform a detail into the protagonist to emphasize its expressive capacity. A single window can open up a world of information. It allows you to lean out to find clues of the stylistic and linguistic aesthetics of architecture.”
Take a look at all 25 drawings in the ARCHIWINDOW series after the break. And don’t miss Federico Babina‘s other (very popular) illustration sets: ARTISTECT, ARCHISET, ARCHIMACHINE, ARCHIPORTRAIT, ARCHIST, ARCHIBET and ARCHICINE.
Nearly 9,000 kilometers separate Venice, Italy from Houston, Texas, and yet, both cities are bound by a simple connection: the coexistence of the urban fabric with the waterfront. This connection was brought to life this summer through The University of Houston’s exhibition at the Venice Architectural Biennale‘s Time Space Existence Event: RISKY HABIT[AT]: DYNAMIC LIVING ON THE BUFFALO BAYOU. Awarded the Global Art Affairs Foundation (GAAF) Award for Best Exhibition, the exhibition showcased the complexities and potential of the city’s relationship with its waterfront. To better understand Houston’s waterfront and the changing relationship between the city and its river we visited the site ourselves. Read after the break to see what it’s like to talk a walk along the Bayou, and to find out what the Houston river project can learn from similar undertakings in Chicago, Des Moines, and Newark.
In the latest episode of his 99% Invisible podcast, Roman Mars digs into the work of lesser-known architect Tausendsassa Friedensreich Regentag Dunkelbunt Hundertwasser. Often cited for his colorful and curvilinear forms, his name translates to “Multi-Talented Peace-Filled Rainy Day Dark-Colored Hundred Waters.” In everything from his name to his unusual ideas put forth in manifestos, it is immediately evident that Hundertwasser was no ordinary architect. Listen to the podcast and check out some of Hundertwasser’s works after the break.
Santiago-based architect Alejandro Aravena of Elemental discusses the sustainable reconstruction of Constitución in Chile following a devastating earthquake in 2010. Given just 100 days to design a resilient masterplan, capable of protecting the city against future natural disasters, Elemental implemented a natural solution: planting a forest that would protect the city from future floods. The design has since receive international recognition, most recently being awarded first prize in the Zumtobel Group Award’s Urban Development & Initiatives category.
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.