One of the centers of cultural and civic life, the 1111 Lincoln Road project by Herzog & de Meuron is featured in the video above, made by Elizabeth Priore. This project was chosen as it has changed people’s perception about what a utilitarian structure can be; and has ignited conversations worldwide about its design and use. This garage has reshaped the urban fabric of the city and people are going there to get married, relax, and enjoy a cocktail. The video is a Semifinalist in the $200,000 FOCUS FORWARD Filmmaker Competition and is in the running to become the $100,000 Grand Prize Winner. More information after the break. (more…)
Peter VonDeLinde, Marc Ofsthun, and Christian Korab, an architectural film studio team based out of Minneapolis, recently created an amazing short film on Frank Gehry‘s newly expanded Weisman Art Museum. Gehry’s 11,000 sq.ft. expansion showcases his sculptural talent featuring its stainless steel facade curving out from the entrance. This video was produced in conjunction with the Weisman featured in the January/February 2012 issue of Architecture Minnesota magazine.
Chika Kijima Architect’s Office + O.F.D.A. transformed a cluster of three existing homes into this work/live haven for a pair of musicians. The naturally lit interiors of the single-story Overlapped House features a studio, kitchen, hall, ample amounts of storage and a well-buffered sleeping quarters.
Video via JA+U.
The Glass House just concluded their second annual Conversations in Context, which presents visitors with the opportunity to join in a weekly evening tour and intimate conversation with industry leaders, including Robert A.M. Stern, Michael Graves, and more.
Since the 1940s, The Glass House has served as a place of inspiration, education and conversation across creative disciplines. Its 49-acre landscape, 14 architectural structures and world-class art collection continue to draw members of an international creative community to participate in its rich story. Conversations in Context continues Philip Johnson’s legacy of using the Glass House as a place to conduct ongoing seminars with architecture students and present emerging and established architects the opportunity to discuss the current state of the industry.
The video above features Architect, critic, and historian Kenneth Frampton, along with Dean Mark Wigley from Columbia University’s Graduate School of Architecture, Planning and Preservation. Follow us after the break for a few of our favorite conversations from this year’s series. (more…)
This interview with professor and author Tom Fisher, Dean of University of Minnesota, is part of a documentary series called “Things May Happen”, in which he describes the dangers of Fracture-Critical Design. This topic is also the subject of his recent book, Designing to Avoid Disaster: The Nature of Fracture-Critical Design. Fisher discusses examples in which our systems, whether they be architectural, structural or even social and financial, fail with disastrous consequences. In a TEDxUMN talk at the University of Minnesota, Fisher spoke about the 1-35W bridge collapse in Minneapolis in 2007, the failure of New Orleans’ levees during Hurricane Katrina, the BP Oil Spill on the Gulf Coast, the Wall Street investment bank failures, the housing foreclosure crisis and now the destruction wrought by Hurricane Sandy. Covering a whole spectrum of “when things go wrong” scenarios, Fisher illuminates the failed foresight in designing systems that are resilient to disaster.
Interestingly, he notes that our economic system, as designed, has a tendency to fail and fail big enough to affect the global economy. Our lifestyle, as designed, is unsustainable and requires “five planets to support”. These warnings are part of Fisher’s discourse and is a call for resilient and considered design systems that anticipate failure and avoid disaster.
Shaped by the Ottoman Empire, known for historical Byzantine structures and its famed Grand Bazaar, Istanbul has always been a melting pot of influences and culture. In recent years, due to thriving economies, emerging cities such as Istanbul have begun cultivating a design landscape. Rapid progress often compromises preservation of heritage and promotion of the arts. On the 5th of November 2012, Taksim Square, one of the few remaining green areas of the city was closed off until late 2013, without the knowledge or consent of its citizens. Here we speak to Özlem Yalim Özkaraoglu, Director of the Design Biennial, and designer, Koray Malhan, about dictatorial urban planning and the future of Turkey’s most notable city.
During the 13th Venice Biennale we had the chance to interview the team behind San Rocco: Matteo Ghidoni, Giovanni Piovene and Pier Paolo Tamburelli.
San Rocco is a very particular architecture magazine, described by its creators as something that “does not solve problems. It is not a useful magazine […] is neither serious nor friendly”, a curated selection of writings around particular topics related to the current state of architectural thinking and criticism. San Rocco has a five year plan, a limited time frame where 20 editions will be published with topics that range from “Scary Architects” and “Collaborations”, to “What’s wrong with the primitive hut” or “Houses for billionaires”.
During the 13th Venice Biennale, San Rocco was present in two exhibits at the Arsenale, including the launch of their project “Book of Copies” at the “Museum of Copying” exhibit curated by FAT. ”Books of Copies” is an online database comprised of images that can be copied in order to produce architecture. As such, “Books of Copies” are receptacles of a collective form of knowledge that we can provisionally call “architecture”. During the Biennale, visitors can photocopy and remix their own magazines.
Sunny & Mild Media presents Part 2 of its Googie Architecture Series, presenting design work at the cusp of technological innovations of the 1950s. Emerging out of an obsession with the fast new world of cars, planes and rockets, Googie Architecture became an ultramodern style that sought to encapsulate the spirit of the 21st century. The new forms – sweeping, cantilevered roofs, starbursts, and flowing forms – became a form of advertisement that caught the attention of motorists, for its vibrance along the stretches of highways and for its distinctive style.
This installment features a closer look at the diners and restaurants that thrived in the ’50s and were designed with the Googie style. Even the one of the first McDonald’s restaurants adapted the style to work with its logo. Many of these buildings stand in ruin now, but the style was used in all kinds of building typologies – most of which emphasized the car: drive-thru’s, drive-in’s, car washes, diners, and gas stations. Even Las Vegas, and our associations with the its architecture today, are a reflection of that style.
At the gardens of the Arsenale designed by Piet Oudolf, a small pavilion, the Casa Scaffali, encloses a fantastic world of smells, textures and artifacts, a Wunderkammer (wonder-room) curated by NY-based Tod Williams Billie Tsien Architects.
A special group of architects and artists from around the world were invited to share the artifacts that inspire them, shipped in boxes to the Biennale.
We had the chance to interview Tod Williams and Billie Tsien during the opening of Wunderkammer, and we also got a chance to see them both and their team setting up the installation during the previous days, a special atmosphere as they were opening these boxes now turned into chests full of surprises.
The group includes Anthony Ames, Marwan Al Sayed, Matthew Baird, Shigeru Ban, Marlon Blackwell, Will Bruder, Wendell Burnette, Johan Celsing, Taryn Christoff and Martin Finio, Annie Chu and Rick Gooding, W.G. Clark, Brad Cloepfil, Chen Chen and Kai Williams, Elizabeth Diller, Ricardo Scofidio and Charles Renfro, Peter Eisenman, Steven Holl, Stephen Iino, Toyo Ito, Bijoy Jain, Claudy Jongstra, Diébédo Francis Kéré, Jennifer Luce, Thom Mayne, Richard Meier, Murray Moss, Glenn Murcutt and Wendy Lewin, Enrique Norten, Sheila O’Donnell and John Tuomey, Juhani Pallasmaa, Mack Scogin and Merrill Elam, Brigitte Shim and Howard Sutcliffe, Karen Stein, Elias Torres and José Antonio Martínez Lapeña, Ursula Von Rydingsvard, and Peter Zumthor.
Text from the architects after the break:
We had the chance to interview Catalonian architect Jordi Badia at the Vogadors: Architectural Rowers exhibit at the 13th Venice Biennale.
Jordi Badia is the principal of BAAS, the Spanish practice founded in 1994 with a strong background in public buildings. Remarkable examples of this office are the Tanatorio de León and the Can Framis Museum.
Jordi graduated from the ETSAB (Barcelona School of Architecture) in 1989, where he is has been an associate lecturer since 2011. He is also a Professor at the Architectural Projects Department of the Escuela técnica superior de arquitectura at UIC.
Projects by Jordi Badia BAAS at ArchDaily:
- Can Framis Museum (2008)
- CAP Salt 2 (2008)
- Workspace in a former coal bunker (2007)
- Sant Boi de Llobregat (2007)
- Day Care, Kindergarten and Primary School (2006)
- Tanatorio Municipal de León (2000)
After opening in August, the 13th Venice Biennale will end this Sunday (November 25th). This video is a recording made by Cristobal Palma of the Chilean Pavilion at the Venice Biennale 2012 entitled CANCHA – Chilean Soilscapes (see our coverage of the exhibit here).
The Chilean Pavilion was curated by Pilar Planchart and Bernardo Valdés. Other invited architects included Pedro Alonso (Deserta), Elemental (Metropolitan Promenade), Susuka (Limitless Chile), Genaro Cuadros (Playground), Germán del Sol (Kancha), Iván Ivelic (Travesies of the Amereida) and Rodrigo Tisi (Performances of Conquest). The Chilean artist Pedro Pulido also exhibited his sculpture, Nein.
More info on the Pavilion, and videos by Cristobal Palma, after the break…
Just a couple months ago, we featured a video by Prompt for the new flea market for the IMMB Institut Municipal de Mercats de Barcelona. The project will play a key role in the economy and urban identity of the city. Featured in this post are two more videos which highlight its progress as it goes up in the city. More information and the next video can be viewed after the break. (more…)
Who will run the world for the next 100 years? Envision Solar President and CEO Desmond Wheatley argues that it will be whoever has abundant sources of power. That is constructive power, rather than destructive power, which is essential to run the information and technology industries that our world is entirely dependent on. Additionally, Wheatley states that energy equals water. And, with less than 1% of the world’s fresh water available for use, desalination is becoming an increasingly plausible solution. The only problem now is that energy is expensive. But, once cities have the will to switch over to renewables, that will no longer be an issue. Could you imagine San Diego as an net exporter of water? Desmond Wheatley can. (more…)
British designer Faye Toogood takes a highly dynamic approach to her work. After eight years at Conde Nast as a stylist, and then editor, at The World of Interiors she went on to open a multi-disiplinary design practice Studio Toogood in 2008 and furniture design company Faye Toogood shortly after. Her client-base is impressive and ranges from Opening Ceremony to Vivienne Westwood, Selfridges, Christie’s and Pernod Ricard. Toogood invites us into her world as we visit her canal-side studio in north London and join her on a tour of her latest work for Opening Ceremony.
The international development and disaster relief charity Article 25, named after the 25th article of the Universal Declaration of Human Rights, asked 100 of London’s artists and architects to take part in ‘10×10 Drawing the City‘. Zaha Hadid, Will Alsop, Eric Parry and Tim Makower have all created artwork inspired by an individually allocated 10×10 squared section of London’s urban landscape. The one-off pieces, which together are an impressive showcase of British architectural heritage, will be exhibited at the newly revamped West Wing of Somerset House on 14 November before all work is auctioned to the public.