It is a curious fact that architects do not put their signature on buildings. While even a novice architecture enthusiast can pick out a Frank Gehry building in any given city, there is no physical statement within that building identifying Frank Gehry as the designer. But why not? This article by Planetizen asks explores this interesting question.
Before George Lucas found a home for his museum in Chicago, the mayors of other cities were desperately vying for the honor (see Los Angeles Mayor Eric Garcetti above). If they are still disappointed about losing out, a new study about the aftermath of building cultural centers might offer some consolation. To learn about the planning fallacies and negative outcomes often associated with these building types, check out CityLab’s recap.
ECOWEEK is a non-governmental NGO with the mission to raise awareness on environmental issues and Climate Change and to promote the principles of sustainability. ECOWEEK has been organizing conferences and workshops across Europe that inspire and empower young architects to be active designers for the benefit of their communities.
Since 2005 ECOWEEK has hosted keynote lectures by leading professionals and thinkers including award-winning architects, such as Shigeru Ban, Ken Yeang, Bjarke Ingels, Francis Kere, Francoise-Helene Jourda, Michael Sorkin and landscape architect Julie Bargmann.
The ECOWEEK International Conference & Sustainable Design Workshops is scheduled to take place in London in September 14-21, 2014. The event is expected to attract young architects, landscape architects, designers and architectural students from the UK and abroad.
SuperPuesto is a temporary pavilion by Terence Gower commissioned by The Bronx Museum of the Arts in collaboration with the Andrew Freedman Home for Beyond the Supersquare, the first U.S. museum exhibition to examine the complicated legacies of modernist architecture in Latin America and the Caribbean through the perspectives of 30 contemporary artists. With the goal of providing an immersive space for visitors to experience the exhibition’s artistic and architectural themes, SuperPuesto also serves as an annex for educational and public programs related to Beyond the Supersquare.
In his interesting profile of the young London-based practice Assemble, Rowan Moore of the Observer investigates the work of arguably the best collective of designers to emerge from 2010′s “Autumn of Pop-Ups” – examining how they have stayed true to the more noble aspects of pop-up architecture despite the concept’s increasing commercialization. From their first project, a temporary cinema in a petrol station, to their recent Yardhouse project in Stratford, Moore finds an architecture that values exuberance and fun, yet is mature and refined. You can read his article in full here.
The Museum for Architectural Drawing presents Lebbeus Woods, ON-line, an exhibition of the finest works of architectural theorist, draftsman, educator and architect, Lebbeus Woods (1940–2012). Curated by his longtime friend and partner Christoph a. Kumpusch, the exhibition brings together a collection of Woods’ visionary works that have never been exhibited before. The intensely rendered architectural and urban environments produced early on in Woods’ career are exhibited together for the first time. These ink and pencil drawings cover a wide range of Woods’ research and re-imagination of cities both real and fictive and support Woods’ longstanding desire to show the capacity of architecture as a transformative and eloquent force.
Raymond Moriyama FRAIC, the Royal Architectural Institute of Canada (RAIC) and the RAIC Foundation have created the Moriyama RAIC International Prize to raise the international stature of the RAIC and the Canadian architectural profession.
The Moriyama RAIC International Prize will be awarded every two years. It will consist of a monetary award of CAD $100,000 and a handcrafted sculpture designed by internationally renowned Canadian designer Wei Yew. Every edition of the prize will feature a new piece by Wei Yew, each based on a separate and unique interpretation of the Canadian landscape.
The prize is awarded to an architect, team of architects, or architect-led collaboration, based anywhere in the world, in recognition of a single work of architecture that is judged to be transformative within its societal context and expressive of the humanistic values of justice, respect, equality and inclusiveness.
Three finalists will be identified in an open, juried selection process, and invited to attend a formal gala where the Moriyama RAIC International Prize winner will be announced and the prize presented. The inaugural gala will take place in Toronto on October 11, 2014. More information can be found here.
The Cauldron, designed by the internationally renowned Heatherwick Studio, is one of the most enduring and creative symbols of the London 2012 Olympic and Paralympic Games. 204 unique copper elements, each alight and representing every competing nation, were arranged in sublime concentric formation at the tips of slender mechanised steel stems. Slowly pivoting sequentially, they converged to form the Cauldron, in which the Olympic, and later Paralympic flame, would burn brightly for the duration of London’s summer of sport.
Designing a Moment: The London 2012 Cauldron, a new gallery at the Museum of London, tells the story of this moment, and celebrates the London 2012 Cauldron.
In the courtyard of the museum, a bespoke new pavilion to house the exhibition has been specially designed and built by Stage One – the creative engineers behind the London 2012 Cauldron. The permanent addition is the first new gallery in the museum since 2010, coinciding with the two year anniversary of the Olympic opening ceremony, when an audience of over one billion people first set eyes on the Cauldron.
Title: Exhibition / Designing a Moment: The London 2012 Cauldron
From: Fri, 25 Jul 2014
Until: Sun, 28 Sep 2014
Venue: Museum of London
Address: 150 London Wall, London EC2Y 5HN, UK
This July 9th, the winners of the inaugural Mies Crown Hall Americas Prize (MCHAP) – for which 36 outstanding projects have been shortlisted - will be announced in Santiago, Chile. Our editor-in-chief, David Basulto, has been named a founding member of the International Advisory Council of MCHAP, and ArchDaily will be covering the event. Read on after the break for details of the event.
Unable to afford architectural services, many abortion clinics in the US constantly struggle to create a buffer between themselves and the often radical anti-abortion protesters outside their walls (indeed, physical barriers – such as sprinkler systems – are often the only things that make clinic workers and their patients feel safe). To learn more about how architecture can help protect them, head over to Fast CoDesign for their fascinating article.
The Gallipoli Peninsula, at the Western end of Turkey, holds a particular significance for the country as the site of a major World War One battle in which the declining Ottoman Empire repelled an attempted invasion by British forces. Today, it is seen as one of the defining moments that contributed to the formation of modern day Turkey, and the site of the battle is commemorated by a national park which includes a series of monuments and memorials at the southern tip of the peninsula.
Aiming to consolidate these sites in to a more coherent whole, the Çanakkale government launched a competition to redesign the area, which was won by Istanbul-based practice Sekiz Artı. Read on after the break for more on their design.
On view at the CCA from 19 June to 14 September 2014 and curated by architectural historian David Gissen, The Mound of Vendôme revisits one key episode of French history when the Commune de Paris in 1871 voted to demolish the Vendôme Column, abolishing all allusions to the Napoleonic era. To protect the surrounding architecture during demolition, a radical landscape was erected on Place Vendôme. Informed by the methods of experimental history, Gissen’s ongoing research project and installation at the CCA traces the provocative history of the column and mound, while arguing for its historicisation and reconstruction.
Built four decades after Louis Kahn’s death, New York City’s Four Freedoms Park - the architect’s posthumous memorial to Franklin D. Roosevelt and his policies – is becoming one of the architect’s most popular urban spaces. In a recent article for the Guardian, Oliver Wainwright investigates what he describes as perhaps Kahn’s ”best project”. Wainwright’s spatial description of the monument is interweaved by fragments of Kahn’s personal history, building up a picture of a space with “the feel of an ancient temple precinct” and “a finely nuanced landscape”. Although Gina Pollara, who ultimately realised the plans in 2005, argues that Four Freedoms Park ”stands as a memorial not only to FDR and the New Deal, but to Kahn himself”, can a posthumous project ever be considered as an architect’s best? Read the article in full here.
Storefront TV is an online channel focused on the communication of contemporary art and architecture ideas with an emphasis on experimentation with a live TV format.
After the exciting inaugural Storefront TV season in Fall 2013, Storefront for Art and Architecture announces the launch of a second season with a Call for Pilots, inviting proposals of original television programs and web series. All selected pilot programs will be taped at Storefront for Art and Architecture in front of a live studio audience and broadcasted online. Applications will be reviewed on a rolling basis through August 20, 2014.
Interested parties should submit a proposal using this form on or before August 20, 2014.
AA Visiting School is an international network of design workshops and other programs organized by the Architectural Association School of Architecture. This event will be realized in Bilbao, Spain between July 23 and August 5.
AA Visiting School will give away 20 scholarships for those interested in attending. If so, you need to send your CV/portfolio and a description explaining why would you like to attend the event.
The workshop will explore the question of ‘place’ or ‘topos’ and its radical transformation in the recent years due to the proliferation and availability of environmental parameters. The rise of digital methods in architectural design as well as simulation platforms for environmental analysis, have produced a renewed interest in the relationship between architecture and phenomena and in particular into the possibility of the integration of environmental aspects into the design process. Nevertheless, approximation means to environmental phenomena in relation to urban morphology need to be further explored to mediate between sophisticated simulation platforms and design agendas, beyond reductionist definitions of the environment.
Throughout the entire period of its existence, humankind was developing numerous methods of elimination of each other. And with invention of the nuclear weapons this desire has endangered the being itself. Matterbetter researches how the design community in contemporary world can contribute to making this world a little safer and more friendly.
Matterbetter invites architects and designers to participate in open-ideas competition that aims to explore the architectural potential and transform the biggest nuclear submarine ever built into a peaceful architectural object.
Participants must register before August 24. For complete information, go to the competition’s official website.
“They’ve got the mall. They’ve got the food court. Now they’ve got the multiplex.” Rowan Moore’s latest piece for the Guardian discusses the collaged plight of London’s British Museum as Rogers Stirk Harbour + Partners (RSHP) complete a large extension of exhibition spaces. Describing it as a “composite Foster-Rogers” building, Moore argues that “a strange distribution of space” coupled with “an inattention to the cultural complexities of the modern museum” have led to “a void, wrapped in a void, with another void to the side.” Although he states that “there are many things to like about RSHP’s building”, the total compilation of spaces, extensions and interventions have led to a museum more like a mall than a house of culture.