Throughout history shifting economies, disasters, regime changes, and utter incompetence have all caused the evacuation of impressive architectural structures. From the 1986 explosion at the Chernobyl Nuclear Power Plant in Ukraine that rendered a region of the then-Soviet Union uninhabitable, to the decline in public transport that saw a number of US train stations becoming superfluous, the history of architectural abandonment touches all cultures. And, without regular maintenance, structures deteriorate, leaving behind no more than awe-inspiring ghosts of the past to fuel the ever-growing internet trend for "ruin porn." Below are 8 abandoned buildings slowly being reclaimed by nature:
For the large majority of "household names" in the architectural sphere, their origins take on an almost mythical status – and this is certainly the case for Atelier Bow-Wow, one of Japan's most renowned internationally operating studios. In this discussion with Dean Amale Andraos (Columbia GSAPP), Momoyo Kaijima—who co-founded the practice with Yoshiharu Tsukamoto in 1992—discusses their particular relationship between research and practice, the difficulty and rewards of working in the Fukushima area following the 2011 tsunami and nuclear incident, and her personal interest in working across generations to develop a deeper understanding of the relationship between buildings and their inhabitants.
Modeling on the computer and physically building scale models are essential modes of iteration for the modern architecture studio. But what if this creative process of digital and physical ideation could be made accessible to everyone: children, hobbyists, and architects alike?
That is the question I set out to answer by designing an entirely new snapping block system, from the ground up, for the aesthetic and experiential expectations of the 21st century. It’s called Kible, and after putting architecture aside and developing it since November 2015, I’ve recently launched the product on Kickstarter.
Following the opening of the 2017 Serpentine Pavilion, designed this year by Diébédo Francis Kéré (Kéré Architecture), photographer Laurian Ghinitoiu has turned his lens to London. Designed to mimic a tree, or a canopy of trees, the wooden structure has been designed to fuse cultural references from Kéré's home town of Gando in Burkino Faso with more "experimental" construction techniques. His ambition is that the pavilion becomes a social condenser – "a symbol of storytelling and togetherness."
On the morning of April 24th, Delhi’s architecture community reacted in shock and disgust to the news that the city's Hall of Nations and the four Halls of Industries had been demolished. Bulldozers had worked through the previous night at the Pragati Maidan exhibition grounds in central Delhi, where the Indian Trade Promotion Organisation (ITPO) razed the iconic structures to the ground, ignoring pleas from several Indian and international institutions.
The Hall of Nations, the world’s first and largest-span space-frame structure built in reinforced concrete, holds special significance in India’s post-colonial history—it was inaugurated in 1972 to commemorate twenty-five years of the young country’s independence. The demolition was met with widespread condemnation by architects and historians alike, not just because of the loss of an important piece of Delhi's heritage, but also for the clandestine manner in which the demolition was conducted.
Standing on the Solomon R. Guggenheim Museum construction site in 1957, architect Frank Lloyd Wright proclaimed, “It is all one thing, all an integral, not part upon part. This is the principle I’ve always worked toward.” The “principle” that Wright referred to is the design ideology that he developed over the course of his seventy-year career: organic architecture. At its core, that principle was an aspiration for spatial continuity, in which every element of a building would be conceived not as a discretely designed module, but as a constituent of the whole.
Although not Wright’s intention per se, it is fitting that the building he conceived of as a living organism has evolved over time. The overall integrity and character-defining spiral form have remained unchanged, but there have been a series of additions and renovations necessitated by the growth and modernization of the institution.
This article was originally published on the blog of the Chicago Architecture Biennial, the largest platform for contemporary architecture in North America. The blog invites designers, writers and other contributors to independently express their perspectives on the Biennial across a range of formats. The 2017 Biennial, entitled Make New History, will be free and open to the public between September 16, 2017 and January 6, 2018.
Some works of architectural writing can be taken at face value as stark manifestos for a new aesthetic. Keith Krumwiede’s Atlas of Another America is, instead, a constantly unfurling satire that offers layers upon layers of artfully imagined social commentary. Like McMansion Hell, my own long-form satirical project, Krumwiede’s “architectural fiction" sends up American ideas about economics, politics, and culture by picking apart our outrageous suburban housing types. The project will be on display at the Chicago Architecture Biennial this fall, delivering a sardonic vision of American architecture that comes out of academic theory, but has a potent message for anyone who has spent time in suburbia.
The Royal Institute of British Architects (RIBA) has announced 49 exemplary projects as winners of the 2017 RIBA National Awards. This year’s list features projects from a wide range of typologies and leading architecture firms including Herzog & de Meuron, Foster + Partners, WilkinsonEyre, and Caruso St John Architects.
Immortalized through photographs, drawings, and stories, buildings that have been demolished or completely renovated exist in the realm known as “lost architecture.” Either for economic or aesthetic reasons, the old gets torn down for the new, often to the disdain of community members and architects. But demolished buildings tell a story about the ever-changing politics of preservation—and often, they tell it far better than buildings that were actually preserved ever could. As the architectural landscape continues to change around us, it is important to recognize our past, even if its traces have been eliminated from the physical world.
Diébédo Francis Kéré's Serpentine Pavilion Opens in Sun-Drenched London – But Will Come Alive During Rain
The 2017 Serpentine Pavilion, designed by Diébédo Francis Kéré (Kéré Architecture), was unveiled today in London. Conceived as a micro cosmos—"a community structure within Kensington Gardens"—the pavilion has been designed to consciously fuse cultural references from Kéré's home town of Gando in Burkino Faso, with "experimental construction techniques." The architect hopes that the pavilion, as a social condenser, "will become a beacon of light, a symbol of storytelling and togetherness."
The New York Times recently reported that over 40% of the buildings on the island of Manhattan wouldn’t be granted construction permits in 2017. Most of the culprits date back to the early 20th century when attitudes towards density, ceiling heights, column placement, and general living standards were different. This begs the question: what would modern iterations of New York’s signature structures look like today? Billed by the practice as “an obsessive-compulsive study of the city we love” HWKN’s New(er) York is a peculiar experiment that tackles this hypothetical.
Had the worst jury ever? Failed your exams? Worry not! Before you fall on your bed and cry yourself to sleep—after posting a cute, frantic-looking selfie on Instagram, of course (hashtag so dead)—take a look at this list of nine celebrated architects, all of whom share a common trait. You might think that a shiny architecture degree is a requirement to be a successful architect; why else would you put yourself through so many years of architecture school? Well, while the title of "architect" may be protected in many countries, that doesn't mean you can't design amazing architecture—as demonstrated by these nine architects, who threw convention to the wind and took the road less traveled to architectural fame.
The Naomi Milhave Foundation have released OMA‘s first renders and drawings for their upcoming MPavilion which is set to take shape this fall in Melbourne, Austrailia. The counterpart to the Serpentine Gallery Pavilion in London, the MPavilion is now in its fourth year. Comprising static and dynamic elements, OMA’s proposal allows for multiple configurations that can generate unexpected programming, echoing the ideals of the typology of the amphitheater. Following the idea of the traditional amphitheater, OMA’s design will be “itself built to perform” as a space for public debate, design workshops, music and arts events.
Charles Thornton, one of the world’s preeminent structural engineers, once said that the greatest challenge facing the profession of structural engineering is that “I don’t think we have enough self-esteem and enough confidence in ourselves to believe that what we do is so important... Architects are trained to present, to communicate, to sell, to promote themselves, to promote their industry, and to take credit for what they do.”
As a structural engineer with over a decade of experience, I agree with Mr. Thornton—to an extent.
Despite the insistence of some, vinyl records haven’t undergone a resurgence because of their supposed superior sound quality. Instead, the impractical medium remains cherished for its quirk and ambiguity. As of late, the collage has made a has made a comeback as a representational strategy for the very same reason, sparking a recent debate around the potential emergence of "post-digital drawing."
Intentionally fantastical compilations empower architects to create clear narratives to supplement their work. In response to this growing popularity, a number of websites have popped up to bolster the trend. Image hosting hub ARTCUTOUT is a curated collection of meticulously detailed, public domain .PNGs nabbed from works of art that were “mostly created several centuries ago by European painters and cartographers.” Serving as a something akin to a “post-digital” version of famed render hub SKALGUBBAR, ARTCUTOUT has the potential to be a go-to resource for the next wave of designers.
Some unbuilt designs—the hopes they reveal and the reasons they stayed unbuilt—tell a powerful story. So it is with the home Frank Lloyd Wright designed for Marilyn Monroe and Arthur Miller. Or perhaps it’s what we think we know about Marilyn that makes it so poignant?
The union between a quiet-living intellectual and the world’s greatest sex symbol was baffling to the public, and the conflict between their aspirations and personalities seems to have played out in their plans for this Connecticut home. After moving into Miller’s country retreat, Monroe asked Wright to design a new house for them on this vast piece of land.
This article was originally published on Autodesk's Redshift publication as "Augmented Reality in Construction Lets You See Through Walls."
Imagine you’re part of a crew constructing a new office building: Midway through the process, you’re on-site, inspecting the installation of HVAC systems. You put on a funny-looking construction helmet and step out of the service elevator. As you look up, there’s a drop ceiling being installed, but you want to know what’s going on behind it.
Through the visor on your helmet, you pull up the Building Information Model (BIM), which is instantly projected across your field of vision. There are heating ducts, water pipes, and electrical boxes, moving and shifting with your point of view as you walk along the corridors. Peel back layers of the model to see the building’s steel structure, insulation, and material finishes. It’s like having comic book-style X-ray vision—and soon, it could be a reality on a construction site near you.
The 22nd ARCH Moscow International Exhibition of Architecture and Design was held in Moscow on May 24-28. ArchDaily joined the exhibition’s partners this year for the first time, and together with speech: media-project they presented a special exposition during Arch Moscow.
Featuring the buildings that received the ArchDaily Building of the Year award in 2017. The 16 sites that received the most votes this year from visitors of the ArchDaily website became the focus of this exposition designed by the architect Sergei Tchoban (together with the architect Andrei Perlich, and curator Anna Martovitskaya – chief editor of speech: magazine). In order to best show the sites’ photographs and drawings, the installation was designed in the form of 8 double blocks, whose shape and color reference the ArchDaily logo. Before us are snow-white rectangular blocks with the recognizable blue window-niches, and it is in these niches that the photographs of the best buildings of the year are displayed.