The prolific architect and designer Fabio Novembre imbues every object he touches with his rhapsodic brand of Milan élan.
Dazzling viewers with its “tron-like landscape of infinite white,” as described by Guardian critic Oliver Wainwright, Sou Fujimoto’s Serpentine Pavilion in Hyde Park is arguably “one of the most radical pavilions to date.” The 350 square-meter latticed structure melts into its surrounding by fusing together the man-made and natural world, creating a lush, semi-transparent terrain in which transforms into a variety of seating, steps and side tables that complement its interior coffee bar (view more images here).
ARQUIVO, a web series of small documentaries about contemporary Portuguese architects that is available for free, shared with us their video featuring architect João Pedro Falcão de Campos. Their project aims to create an archive of a generation of architects and to promote, both at a national and international level, the architecture that is currently being produced by Portuguese architects. For more information on their work, please visit here.
Battling against international sanctions, global economic crisis and the challenges behind creating a hotel locally and sustainably in Iran, Ameriha House is a recipe for disaster. Or is it?
In a crowed auditorium in central Los Angeles on Sunday, Swiss architect Peter Zumthor sat down with the Los Angeles County Museum of Art (LACMA) director Michael Govan to kickstart the opening of The Presence of the Past: Peter Zumthor Reconsiders LACMA. The hour-long discussion, captured in the video above, began with an insightful overview of Zumthor’s most famous works before moving to an in-depth conversation about the underlying ideas that drive Zumthor’s design for the highly anticipated LACMA overhaul.
The project – already six years in the making and yet still in its schematic phase – plans to replace LACMA’s aging cluster of three pavilions with an elevated, 21st century facility. A detailed project summary, alongside images captured from Zumthor’s 6 ton, concrete exhibition model, is available for you to review here on ArchDaily. Enjoy! (more…)
Beneath an elevated railway in the former red-light district of Kogane-cho, the city of Yokohama and NPO Koganecho Area Management Center commissioned five architects to transform a 100 to 150 square meter site into what is now a destination for local artists and residents. Each practice – Contemporaries, Studio 2A, Workstation, Koizumi Atelier, and Nishikura Architectural Design Office – was assigned a single project, providing the community with a gallery, cafe, studio, meeting hall for artists, and stepped outdoor plaza. Tour through each space with this video, provided by JA+U.
(Almost) everything you need to know about 20th century design has been synthesized into 6 brightly-colored, easily-digestible videos (all narrated by the sweet Scottish tones of one Ewan MacGregor).
From the Gothic Revival to Post-Modernism, this series of shorts from The Open University’s OpenLearn website just touches the surface of these design movements; however, they act as a great introduction for the un-design-initiated (indeed, The Open University sees them as an intro to their free course on Design Thinking) or, for design-aficionados, a fun refresher.
We’re particular to the video on the Bauhaus (after all, we also tackled the movement in a brilliant infographic) and the Modernist video (after the break) – but you can find all 6 at OpenLearn. Enjoy!
The American Design Club (AmDC) was conceived in the spring of 2008. At that time, America’s relevance in the design world was being questioned, with some postulating that US-based designers would never be as influential or productive as their European counterparts. Looking around, however, all they saw was talent and ambition in our fellow American designers, from close friends to former employers to recent design school graduates. What was missing was an avenue for these designers to share their work with a broad audience. The AmDC’s founding members resolved to improve the situation by creating a platform from which designers could launch new ideas and connect with one another.
Designed for the artwork of artist Rei Naito, the Teshima Art Museum is a seamless, earthen form of white concrete in which responds to the rolling landscape of an island located in the Inland Sea of Japan. Architect Ryue Nishizawa created the museum to be an open gallery, exposed to the elements, that is shaped by a 25cm thick concrete shell in which spans up to 60 meters.
Video courtesy of JA+U. More images after the break…
In this talk at TED 2013, WikiHouse co-founder Alastair Parvin elaborates on some of the ideas which he presented in 2012. WikiHouse is his project to create an open-source library of houses which can be downloaded, manufactured with a CNC machine and assembled in a day – an idea which he hopes will democratize the production of housing and the city as a whole – as he puts it, “In a way it should be kind of obvious that in the 21st century maybe cities could be developed by citizens”.
Felix Burrichter is a New York-based architect turned editor who prefers building magazines.
DS+R (Diller Scofidio + Renfro) is one of the most acclaimed architecture practices of these days. The firm was started by Elizabeth Diller and Ricardo Scofidio back in 1979, and they were later joined by Charles Renfro as a partner in 2004.
In the past years the firm has been involved in several cultural projects, including the Blur Building at the Swiss Expo 2002, the Institute of Contemporary Art in Boston, the Julliard School, the Alice Tully Hall and the Hypar Pavilion at Lincoln Center in New York and the Center for the Creative Arts at Brown University. They are also currently working on the Art Museum and Pacific Film Archive in Berkeley, the Broad Museum in Los Angeles, the Museum of Image & Audio in Rio de Janeiro, the Columbia Medical Building and Business School in New York… and the list just keeps growing.
But for sure one of their most important projects has been The Highline, together with James Corner / Field Operations. This urban regeneration project has not only changed Manhattan, but also inspired cities around the world to understand their hidden value. This project is currently on its third stage, which includes a multi-use venue designed by DS+R, the Culture Shed.
In all these projects, there is a common denominator between private/public space relationships, as discussed with Charles Renfro in this interview. In this conversation you will also learn about a very important aspect of the firm’s work, one that is very hard to transmit in traditional architecture media or even on the web: the experience. The art and performance projects that the firm has been doing since its beginning has added a particular layer to their built work. After you see their installations (and the effect they create in people), and then go back to their built projects, you start to see them as a series of situations where users are not static, but part of this performance.
Take for example the sunken auditorium at the Highline, a place that is meant to be seen by the cars driving below, who get a glimpse of the active urban life above. Or the hanging media center at the ICA, that uses the sea as a facade. Or The Art of Scent exhibit at the MAD Museum, where they exhibit the intangible. Or at the Blur Building, where you enter into a cloud.
DS+R’s work is very clear and bold at first glance, but with many underlaying moments and situations that reflect the careful design of each project.
Thanks to UNIACC Architecture School for making this interview possible. Projects by DS+R at ArchDaily:
In this video, Cathleen McGuigan, editor-in-chief of Architectural Record, discusses gender within the professional setting, specifically within the world of architecture at the Harvard GSD. As she begins, she addresses the question that most people have when such a topic is approached. ”Why are we still talking about this?” McGuigan lays out the position of women in architecture and the rational that still supports inequality, however subconscious, within the profession. Referencing Sheryl Sandberg’s new book Lean In, McGuigan shows how this topic is still unresolved and still needs to be discussed in the public forum.
“The Community” might be the most frequently used term over the last 50 years of Architectural and Urban discourse. For decades, “the community” has served as a legitimization for anything from Team X to New Urbanism, from Celebration to “vancouverism”. But what is “the community”? Where should we look for the proper definition? How did communities appear in the past and how do they form today? Can ‘the community” influence the design of its own space, territory or context? If yes, what could be the relationship between the community and architecture in the future?
In his Strelka talk Reinier de Graaf is trying to answer these and other, even more complex questions.
Via the Strelka Institute.
After generously donating an archive of over 6000 drawings and 150 projects, architect Charles Correa sat down with RIBA President Angela Brady to discuss his life and work as one of “India’s greatest architects.” The short interview touches on a wide range of topics, from the inspiration behind some of his greatest projects to advice for future architecture students.
“The thing about architecture is that you cannot teach it. You can learn it, but you cannot teach it. And a good school is a school which makes you passionate about architecture and that teaches you how to ask questions. [...] If you know how to ask the right questions, you will develop your own philosophy and your own visual vocabulary.”
For this architect, there is an indiscernible line between art installation and building. Alexander Brodsky studied architecture in Moscow, while working on art installations and drawings both independently and in collaborations with other artists. Brodsky admits that his career path was unconventional, that he felt unready to take on the responsibility of building. Instead, Brodsky’s approach to architecture is through the lens of art: occupiable, room-sized installations that test spatial and sensory boundaries.
More after the break.