The following is an excerpt from Giulia Foscari’s Elements of Venice, a book that applies the dissection strategy Rem Koolhaas explored in “Elements of Architecture” at this year’s Venice Biennale. The book aims to demystify the notion that Venice has remained unchanged throughout its history and addresses contemporary issues along with strictly historical considerations. Read on for a preview of Elements of Venice, including Rem Koolhaas’ introduction to the book.
For his three sacred buildings, Le Corbusier has played masterfully with orientation, openings and textures to create kinetic architecture with daylight. His pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy reveal distinctive and individual approaches that each render contemplative spaces with light. In his book “Cosmos of Light: The Sacred Architecture of Le Corbusier,” Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has analysed these projects with outstanding photographs taken over 40 years and brilliant writing.
Read on for more about how Le Corbusier created his cosmos of light.
Held in 1933 on a ship in the Mediterranian, the fourth CIAM congress and Le Corbusier’s subsequent Athens Charter (La Charte d’Athenes) are widely regarded as a defining period in Modernist urban planning, a moment when architects came to an agreement on what the future of our cities should look like. But how correct is this interpretation? Edited by Evelien van Es, Gregor Harbusch, Bruno Maurer, Muriel Perez, Kees Somer and Daniel Weiss, a significant new 480-page book, “Atlas of the Functional City - CIAM 4 and Comparative Urban Analysis” examines the congress in depth. In the following excerpt from the book’s introduction, Daniel Weiss, Gregor Harbusch and Bruno Maurer examine the commonly accepted history of the congress, finding that support for the underlying principles of Modernism was perhaps not so unanimous after all.
Founded in 1993, Berlin-based practice Barkow Leibinger has become known for a research-based approach to design that fully explores the possibilities offered by tools, fabrication techniques and materials. In the following essay, adapted from his contribution to Barkow Leibinger’s monograph Barkow Leibinger: Spielraum, art critic Hal Foster examines the historic context of the practice’s work and the influences that have shaped their production.
One origin myth of modern architecture involves the voyaging of German designers like Walter Gropius to North American cities such as Buffalo, where they first saw in situ the industrial structures, such as grain elevators, that they had already proposed as models for functionalist buildings in Europe. The partnership of Frank Barkow and Regine Leibinger is a new variation on this old theme of international encounter: in the late 1980s the American Barkow and the German Leibinger met at the Harvard Graduate School of Design (GSD, where Gropius had once presided as chair). In the literature on the office, this encounter is taken as a primal scene: Frank Barkow, the rangy man from Montana, impressed by the huge infrastructural projects and the great land art of the American West (e.g., hydroelectric dams, in the first instance, Spiral Jetty by Robert Smithson, in the second), meets Regine Leibinger, the sophisticated daughter of the innovative director of TRUMPF, the designer-manufacturer of laser-cut tools based near Stuttgart (which is also where a classic of European modernism, the Weissenhof Siedlung, is located). After training at the GSD, under the chairmanship of Rafael Moneo, the two young architects set up a practice in Berlin, in 1993, at a time when the new Europe came to represent what the old America once did: an expanded horizon for ambitious building.
Despite his significant impact on architecture through both built and theoretical works, most studies of Peter Eisenman‘s career focus on either one aspect or the other. In “From Formalism to Weak Form: The Architecture and Philosophy of Peter Eisenman,” Stefano Corbo attempts to redress this balance, connecting themes in the design and the theory of the influential architect across the many stages of his 50-year career. The following is an excerpt from the book’s introduction, giving a brief overview of the chronology of Eisenman’s career and the ideas that have influenced him over time.
All of the different moments characterizing Eisenman’s trajectory imply different phases, different projects, different programmatic manifestos and, above all, an evolving notion of form. To approach the complexity of his discourse means dealing with form in all its declinations: formalism, de-composition, deconstruction, and weak form. Each of them has constituted the mutant epidermis of Eisenman’s theoretical corpus, based on philosophical references and provocative statements.
Thanks to his ability to connect with the cultural tendencies of the time, Eisenman has explored different territories: first, structuralism and Chomsky’s linguistic theory; successively, Derrida and Delueze’s post-structuralism, passing through the influence of Colin Rowe’s formalism, and his recent interest in the return to autonomy as theorized by Pier Vittorio Aureli. At the same time Eisenman has always played a central role in influencing and manipulating the American architectural debate, due to his propagandistic activity, first with the IAUs (Institute for Architecture and Urban studies), and then with the magazine Oppositions.
In their latest book Design for a Living Planet: Settlement, Science, and the Human Future, Michael Mehaffy and Nikos Salingaros examine recent developments in science that will inform and possibly even radically alter the future of architecture. The following is an adapted series of excerpts that summarizes the content of the book.
Architecture has always concerned itself with the future, and with the implications of findings from the sciences — as well as their practical applications to architectural craft. Today we do indeed see very exotic computer-designed aesthetic surfaces, splined forms, and generative schemes. To a non-scientist, this work might appear ultra-scientific and “modern”. We also see the symbolism of a turbulent, fractured Universe, wherein old ideas of meaning are facing anguishing post-modern challenges.
But from a modern physicist’s perspective, this architecture is still mired in the past.
Making Complex Systems Visible: “Between Geometry and Geography” Carefully Uncovers the Layers of Mexico City
I always book a window seat when flying into Mexico City. It guarantees exposing the traveler to the exhilarating immensity of the city and the valley that barely contains it: a blunt encounter of geometry and geography indeed. Braving traffic I arrive to my hotel in the historic center and the first morning, over breakfast and with those aerial images still fresh in my mind, I invariably marvel at the fact that I have just had a hot shower and that I am enjoying, as usual, excellent huevos rancheros. “How did these eggs get here?” I wonder. The thoughts quickly dissipate as one is engulfed by the many renowned attractions of Mexico City.
Felipe Correa and Carlos Garciavelez Alfaro have chosen not to be distracted. Their book, “Between Geometry and Geography: Mexico City”, is an ambitious portrait of Mexico City that avoids reading the city through the singularities of its monuments. They have produced instead a stunning graphic biography of the metropolis, focusing on the infrastructures that have shaped the city and make it function today and speculating on opportunities for future multifunctional infrastructures.
Published by the Pontificia Universidad Católica de Chile as part of their ARQ DOCS series, “Pier Vittorio Aureli” features two in depth interviews with Aureli, the high-profile Italian theorist and co-founder of design and research studio DOGMA. The book’s introduction, written by Emilio De la Cerda is excerpted below.
The work of Pier Vittorio Aureli constitutes a rigorous effort of thought regarding architectural discipline and the political dimension enclosed by the specificity of form. It is an approach focused on the power of the project, a speculative but delimited tool, which allows overcoming the paralysis of diagnosis and the abuse of diagrams, in order to establish a decisive commitment with the concrete reality of the city.
This line of thought, which is introduced here through two interviews conducted in 2010 and 2012 by Felipe De Ferrari and Diego Grass —architects and professors in our school—recognizes the profound historical and collective tradition of architecture, showing itself distant from those conceptions that see both creativity and the subjective originality of form as a sort of ethical manifest. Far from celebrating authorial genius, Aureli insists in the inseparable link that exists between architectural production and the cultural realm in which it develops.
MARK #53 surveys American low-income housing from coast to coast. Michael Webb provides the historical and cultural context for some recent success stories in affordable development and presents three buildings in California designed by Kevin Daly Architects, OJK Architects and Planners, and Rob Wellington Quigley.
Larger low-income developments in New York and Los Angeles, by David Adjaye and Michael Maltzan respectively, speak to overcoming the challenge of aesthetic innovation on a tight budget. In the southern and western states, we find the Rural Studio at Auburn University and Design Build Bluff at the Universities of Utah and Colorado tackling the low-income housing issue outside the city, realizing rural homes for less than €20,000 each.
Then, it’s time for dinner and a show. Tour MVRDV’s mixed-use Markthal, a food paradise for casual grazers and sit-down diners alike, before talking with Jan Versweyveld, who designed the scenography for a stage adaptation of The Fountainhead.
JA96 takes a retrospective look at the architecture of 2014. 83 projects were chosen to present the best of Japanese architecture, including works by Kazuyo Sejima, Kengo Kuma, Toyo Ito, Tadao Ando and Shigeru Ban.
The issue also features a roundtable conversation between Tomohiko Yamanashi, Satoru Ito and Akihito Aoi about the current architectural design and decision-making.
The following is an excerpt from Keller Easterling’s latest publication, Extrastatecraft: The Power of Infrastructure Space, which explores areas of infrastructure with the greatest impact on our world. Easterling is a professor at Yale School of Architecture.
The road between Nairobi and Mombasa is lined with, and virtually lit by, advertisements for the mobile phone companies that have entered the region—all promising new freedoms and economic opportunities. With their images of Masai tribesman in native dress phoning from a remote wilderness, the ads employ an essential trope of leap-frogging—the desire for a perfect collapse between technology and nature, tradition and modernity. The billboards express the enthusiasm of a world turned upside down in which not the developed but the developing world has their hands around a majority of the world’s cell phones.
Over the last 150 years, the ocean floor has been laid with thousands of miles of submarine cable of all types for telegraph, telephone, and fiber-optic infrastructure. In the nineteenth century, it took only thirty years for the British cable-laying companies to string the world with telegraph cable, and a little over a decade from the late 1980s to the late 1990s for most of the world to be connected to fiber-optic cable. Yet until recently, East Africa, one of the most populous areas of the world, had no fiber- optic submarine cable link and less than 1 percent of the world’s broadband capacity. A country like Kenya had to rely for its broadband on expensive satellite technology acquired in the 1970s that cost twenty to forty times its equivalent in the developed world. Before 2009, one Mbps (megabit per second) of bandwidth could cost as much as 7,500 US dollars per month against the world average of $200. The monthly cost of putting twenty-five agents on the phone was $17,000 a month instead of the $600–900 that it would cost in other developed countries.(1)
If a building could be thought of as the architect’s manifesto to construction, then the staircase can be seen as the designer’s autograph – a signature flourish that can embody the entire statement of design for a building in a singular structure. Staircases can be flamboyant or understated in design, from refined to rustic in their construction and traditional to unconventional in the materials from which they are built. Whatever their direction, all of the staircases in this collection make an announcement about the building, whether they are intended to subtly blend in with their surroundings or to attract attention and inspire.
This book is a collection of 39 of the most exceptional staircase designs produced across the world over the last ten years. Detail in Contemporary Staircase Design features photographs of the finished staircases alongside technical drawings, illustrating the design and construction of outstanding projects ranging from intricate domestic creations to imaginative public and commercial features and dramatic artistic statements. Each building in this book is conceived by an architect whose all-encompassing vision drives and informs the configuration of each structure, provides a concept that gives direction to the building’s appearance and solutions to each design problem. Every featured staircase should therefore be seen as the distillation of each designer’s approach, encapsulating the motivation and direction of the entire building design. The staircase can be considered as a microcosm of the building.
Black Dragon Press has shared a set of prints and a booklet on Brutalist architecture in London with illustrations by Thomas Danthony, complemented by text from ”Fuck Yeah Brutalism” curator Michael Abrahamson. See Abrahamson’s intro to the booklet reprinted below.
Brutalism is an unusually evocative word. Like the architecture for which it’s used as a descriptor, it can elicit a powerful, bodily discomfort or psychological repulsion. Standard dictionary definitions itemise the materials (exposed concrete, but also brick and block) and describe the physical character (forceful, unadorned, imposing) of this type of building, and would likely also mention the time frame during which it was the dominant tendency in architecture (from the late 1950s to the early 1970s).
The following is an excerpt from Last Is More: Mies, IBM and the Transformation of Chicago. The Langham Hospitality Group commissioned architectural photojournalists Robert Sharoff and William Zbaren to document the transformation of eminent architect Mies van der Rohe‘s IBM Building — the last skyscraper he designed — into The Langham, Chicago. In this chapter, Sharoff and Zbaren provide a more detailed look into the period between 1965 and 1975, when Mies’s influence on Chicago’s skyline was at its most pervasive.
The construction of the IBM Building occurred midway through a legendary period in Chicago architecture—the decadelong building boom between 1965 and 1975, when Mies’s influence on the city’s skyline was at its most pervasive.
During these years, numerous Miesian structures by firms such as Skidmore, Owings & Merrill, C. F. Murphy Associates, and Loebl, Schlossman & Bennett were erected, and the city’s reputation as the founder of American modernism was finally and firmly established. The best of those buildings continue to dominate the skyline.
A+u magazine was recently granted an exclusive interview with the co-founders of Flux, the Google[x] startup whose mission is to harness data to automate architectural and urban design. The discussion is one of 14 essays and interviews from leading urban technologists in the current November issue, Data-Driven Cities.
“We began our exploration with the premise that buildings and the sustainability of our modern lifestyle are deeply intertwined. In addition, buildings – more specifically, housing – is an issue of human dignity. We wanted to find ways to apply Google-scale thinking to tackle these important issues,” says co-founder Nicholas Chim in the interview.
Read on after the break for a+u magazine’s full interview with Flux co-founders, Nicholas Chim and Michelle Kaufmann. And check out the November issue of a+u magazine, available in digital and print editions, which features new essays by Carlo Ratti (MIT), Dan Hill (City of Sound), Alastair Parvin (Wikihouse) and more.
The NSA Muscle, an interactive inflatable structure built in 2003 that responded to touch and presence by changing its shape, is the latest subject explored in the Canadian Centre for Architecture‘s series on pioneering projects of digital architecture. Joining a roster of influential names including Peter Eisenman, Frank Gehry and Chuck Hoberman, this e-book recounts a conversation between Greg Lynn and the author of the project Kas Oosterhuis of ONL [Oosterhuis and Lénárd]. The ‘breathing’ structure was covered by a grid of ‘muscles’ that contracted and relaxed in response to external stimulus, combining commercial pneumatics and virtual control technology in new ways to prototype an new kind of interactive architecture.
Discover the story by downloading NSA Muscle for free after the break.
The Modernist is a quarterly journal dedicated to 20th century modernist architecture and design. Published in Manchester – one of the cultural capitals of the North of England – and featuring an esteemed roster of writers and contributors from across the United Kingdom, the journal has been described by James Pallister of the Architects’ Journal as, in spite of its subject matter, “free from the strait-laced rigour of classic graphic design modernism.” Twelve issues later and the liberal, playfully academic tone of this digestible journal has been maintained in this latest incarnation, Departed.