In a public interview, director Mary McGuckian speaks with Shane O’Toole of DoCoMoMo Ireland about her soon-to-be-released film, “The Price of Desire,” a biopic about the influential Irish modernist Eileen Gray – narrated from the perspective of Le Corbusier, no less. McGuckian explains how the film and the extensive research behind it went far beyond the usual remit of a biopic. Indeed, not only did it spawn an accompanying documentary (“Gray Matters“, directed by Marco Orsini) and book, it even played a pivotal role in the restoration of E1027, Gray’s seminal house design, to a point where it was possible to film on location.
McGuckian explains how the film deals with “the universal female experience, particularly for creative women… the lifetime experience of Eileen Gray was a combination of the time she lived in, the personality she was, and for want of a better expression, insidious chauvinism.” The film casts Le Corbusier as Gray’s rival, who defaced E1027 with his infamous murals, but also uses a little cinematic license to present him as the admirer who tells “the story, from his point of view, of how Eileen Gray came to be the most important, inspirational and innovative architect of their generation, and gives her back the right to be recognized for that work.”
In honor of International Women’s Day, MASS Design Group has released the latest in their video series “Beyond the Building,” a visual exploration of the ways architecture impacts lives around the world (see the first in the series here). This episode tells the story ofMASS master mason Anne Marie Nyiranshimiyimana, better known as Kankwazi, one of the first and only female masons in her region of Rwanda, who learned her trade while working on the Butaro Hospital project. Her story is a perfect example of how architecture can empower and inspire women in communities across the world. In Kankwazi’s words: “it dignified me [..and] no amount of value can be assigned to dignity.” Enjoy the video above (the first of the series) and join the conversation on Twitter by using the hashtags #womensday and #beyondthebuilding.
In his talk at TEDx Vilnius, Koen Olthuis compares the cities of today with those at the turn of the 20th century: ”cities are not full, we just have to search for new space… they made elevators and built a vertical city. We have to do exactly the same, but our generation has to look at water.” With that in mind he looks at the top 10 reasons that floating cities are becoming a more popular idea, including: they provide solutions for topical issues such as flooding and sustainability; they can be used as ‘plug in’ travelling global amenities, useful for things like Olympic Stadiums; or could even allow us to rearrange urban areas.
From Henning Larsen Architects. “Architecture is the opposite of the coca-cola-principle,” says Louis Becker, director of Henning Larsen Architects, in this interview with Louisiana Channel. He continues by explaining that architecture is, first and foremost, about seeing things grow. With architecture your dreams become physical: “We are building our ambitions for society.” If architecture was separate from life and society, it would be an uninteresting form and space. The inside of a building must have a relation to the outside; there has to be a dialogue between the life and hope inside, and the city as a whole.
Architecture is also a merger of cultures and ideas. Scandinavian ideas of transparency, democracy and equal access affect the way Henning Larsen Architects approaches architecture. But, at the same time, it is very important to think of what is necessary in the nature, culture and climate that you are working with. “When two different ways of seeing the world meet, that’s when something interesting happens.”
In this video, Becker explains these ideas in relation to two very different projects, one in Saudia Arabia and The Harpa Concert Hall in Reyjavik, Iceland (which was made in collaboration with artist Olafur Eliasson and won the prestigious Mies van der Rohe award in 2013).
ArchDaily has teamed up with Portugal’s Canal 180 to bring you their series I LIKE. Check out episode 1, I LIKE Black. The video features RCR Arquitectes‘ Teatro la Lira, Kumiko Inui‘s Shin-Yatsushiro Monument, and NL Architects‘ Wos 8.
I LIKE is an original series on architecture and spatial intervention, developed in a collaboration between Canal 180 and LIKEarchitects atelier. Diogo Aguiar and Teresa Otto have created a chromatic experiment and spatial exercise–organized by color–that reveals some of the most amazing architectural interventions in the world.
Next week ArchDaily will premier the second installment of I LIKE. Stay tuned!
‘I Like’ is a multicolored urban kaleidoscope that reveals some of the most amazing architectural interventions in the world, in a series of 11 episodes organized by color.
‘I Like’ premiers on March 4th. Stay tuned!
Robert Slinger, a founding partner of Berlin based practice Kapok, narrates the story of a building “too radical to implement and too relevant to ignore.” Having lived in John Hejduk’s Kreuzberg Tower for eight years, Slinger “came to understand how Hejduk’s architecture both flexibly accommodates and yet asserts a presence which resists any attempts to co-opt it. Whilst impressed by its powerful exterior presence, its austerity and frontal directness left a strangely cold impression upon me.”
Arbuckle Industries, the producers behind the highly lauded documentary Archiculture, has shared with us a small teaser revealing Renzo Piano’s recently opened expansion at the Kimbell Art Center. Situated just 65 yards from Louis I. Kahn’s “signature cycloid-vaulted museum of 1972,” the single-story, colonnaded pavilion “stands as an expression of simplicity and lightness.”
ArchDaily has teamed up with the The Berlage to provide exclusive access to their newly digitized archive of lectures. The Berlage is a postgraduate international institute where some of the world’s most renowned architects, thinkers, designers, photographers and other professionals come to share, exchange and critically reflect upon their ideas. Over the last 23 years, The Berlage has built up an extensive lecture archive of seminal lectures. Thanks to this partnership now we can now share them with you. ArchDaily is committed to providing inspiration and knowledge to architects all over the world, so please look forward to monthly publications of these lectures during the coming year, which include talks by Rem Koolhaas, Jacques Herzog, Toyo Ito, and more.
This 1998 lecture reflects Rem Koolhaas’ desire to initiate a direct meeting of the critic and the architect, so it’s no surprise that the he called upon Kenneth Frampton to join him in conversation. (Koolhaas–with his tendency toward polemic, hyperbolic statements–even refers to Frampton as “maybe the only critic left.”) The two spend a significant time debating the role of the critic, often disagreeing and playfully challenging the other’s theories.
Recorded at a time when the Office for Metropolitan Architecture was working on the Educatorium, the Maison à Bordeaux and the recently completed De Rotterdam, the conversation also delves into discussions of China’s emergent urbanization (which was, in 1998, still relatively young) as well as “the star system.”
A new hour long documentary for PBS’ series, Building the Great Cathedrals, explores the mystery of how, in the 15th century, Florentine architect Filippo Brunelleschi constructed one of the largest domes the world had ever seen. Winning what could be considered one of the earliest architectural competitions, Brunelleschi developed a unique system that allowed construction on the dome to occur while services were being conducted in the cathedral 100 metres below. The team in this episode model this freestanding structure in an attempt to understand just how Brunelleschi achieved such a feat of Renaissance engineering.
You can find out more about the film here. Please note that the film is only viewable through PBS within the USA. For those of you outside the USA, you can watch the 30 second preview above; for those in the USA, see the full video after the break…
The elevated railroad, which was designed to penetrate city blocks rather than parallel an avenue, saw its last delivery (of frozen turkeys) in 1980. By 1999, a “very strange landscape had formed, with a whole eco system around it,” says Diller. Advocacy for the site’s preservation began with two local residents, and culminated in its reclamation with the multidisciplinary collaboration of city officials and impassioned designers (namely James Corner Field Operations, Diller Scofidio + Renfro, and planting designer Piet Oudolf). “The High Line project couldn’t have happened without the right people, the right time and the right administration.”
Today, thirty-feet above the hardscape in the canopy of the New York City jungle, the High Line pauses for a meditative mile. “The high line, if it’s about anything, it’s about nothing, about doing nothing. You can walk and sit, but you can’t be productive,” comments Diller.
When designing offices for creative companies, it’s important to strike a balance between an efficient workplace, a fun space to be in, and an attention-grabbing signature for the company itself. That’s exactly what Clive Wilkinson Architects did for the Barbarian Group, an advertising group in New York for whom they designed the Endless Table, a single desk which both seats all of their 125 staff members, but also defines spaces within the office, such as meeting rooms and cozy work nooks.
You can watch the video above where the Chairman and the CEO of the Barbarian Group give you a tour of their new home; the New York Times has also conducted an interview with Clive Wilkinson where you can see some great images and find out more about the inspiration behind the project.
MASS Design Group, the award-winning design group behind the Butaro Hospital and Umubano Primary School in Rwanda as well as other public-interest projects in Haiti, have launched a video series on a great topic that really resonates with us. “Beyond the Building” will look at the ways in which architecture, beyond buildings, impacts lives around the world, giving dignity back to the users. Check out the awesome video above (the first of the series) and join the conversation on Twitter by using the hashtag #beyondthebuilding.
What do you think the North American, Asian and Western European tall building communities most need to learn from each other? This is precisely what the Center on Tall Buildings and Urban Habitat (CTBUH) sat down to ask five leading architects, whose responses formed an eclectic and meaningful overview on the state of tall building worldwide. As Rem Koolhaas noted, each region has their own journey that is worth understanding, such as the Arab world’s transition from “extravagance to rationality” or Asia’s hyper-focus on project realization. However, as James Goettsch points out, “not every building has to be something remarkable.” It’s alright for some buildings to be nothing more than “good citizens.”
Watch all five responses in the short video above.
We present you with a compelling video depicting the sublime interaction of light and space at Santiago Calatrava’s Liège-Guillemins railway station in Belgium. Inspired by Eadwards Muybridge’s 1886 short-film “Horse in Motion,” architectural photographer Yannick Wegner uses time lapse photography to uniquely portray the experience within and around this bustling building.
“Time lapse as a stylistic device offers new opportunities in acknowledging remarkable architecture,” describes Wegner. “The appearance of time through motion gives the impression of vitality and emphasizes the architecture.”
In this powerful interview, Jean Nouvel explains his relationship to Arabic architecture. Discussing his various projects in Arabic countries – such as his office tower in Doha or the Louvre Abu Dhabi - Nouvel discusses how he is influenced by and integrates the abstraction and geometry of traditional Islamic architecture into his modern designs. He also espouses a strong opinion on the understanding of context in architecture, saying: “I’m a contextual architect, but for me the context isn’t only the site. It’s above all a wider historical context – a cultural context… each time, building is trying to continue a history, and to take part in this history.” His architecture, he says, is about listening: “The architect is not meant to impose his own values or his own sensitivities on such general plans.” Video via Louisiana.
Designed by Helsinki-based practice AOR, Viewpoint is a peaceful respite floating on the canal in London’s Kings Cross. See how Erkko Aarti, Arto Ollila and Mikki Ristola explained the process and the relationship between the built and unbuilt in Kings Cross.
As an accompaniment to their ongoing Sensing Spaces Exhibition in London, the Royal Academy of Arts has produced six wonderful films interviewing the architects involved in the exhibition, unearthing what motivates and inspires them as architects, and what the primary themes of their exhibition projects are.
The above video features both Álvaro Siza and Eduardo Souto de Moura, who both designed their Sensing Spaces exhibits with the other in mind. Siza explains his preoccupation with the joints between the natural and the man-made through his Leça Swimming Pool complex, and the way the rock formations informed his interventions. He also introduces his one-time protégé Souto de Moura’s Braga stadium as expressing the same understanding of the natural and man-made.
See videos from the 5 other Sensing Spaces participants after the break