Last week, New York State Governor Andrew Cuomo announced a long-awaited and much-needed proposal for a makeover of Penn Station. Designed by SOM, the proposal for the new Penn Station–Farley Complex, to be completed in 2020, offers a pragmatic solution to the years of scrapped schemes and political stalling. However, The New York Times believes that Governor Cuomo’s proposal could be pushed further. The newspaper thus commissioned Vishaan Chakrabarti of PAU to come up with an alternative proposal to challenge Governor Cuomo’s plans.
Paulo Mendes da Rocha is one of Brazil's most celebrated architects. And, in spite of the fact that very little of his work can be found outside São Paulo, his “Paulista Brutalism” is revered worldwide, earning him the Pritzker Prize in 2006 and, just last week, the Royal Institute of British Architects' Gold Medal. In light of the RIBA Gold Medal news, as part of his “City of Ideas” column, Vladimir Belogolovsky here shares an interview conducted with Mendes da Rocha in 2014. The interview was conducted in Mendes da Rocha's office in São Paulo with the help of Brazilian architect Wilson Barbosa Neto acting as translator, and was originally published in Belogolovsky's book, “Conversations with Architects in the Age of Celebrity.”
Vladimir Belogolovsky: In your short text "The Americas, Architecture and Nature," you say that “for Brazilians and Americans in general, the historical experience begins with the modern world. There is a difference between rebuilding old cities in Europe and building new cities in the Americas.” Could you elaborate this thought?
Paulo Mendes da Rocha: Of course, there is a difference in attitude when one builds in such a new place as Brazil or the American continent in general as opposed to Europe. The landscapes are different, cities are different, cultures are different. How can you compare St. Petersburg in Russia and Vitória, my hometown, in Brazil?
Last month we put out a call to our readers to show us where they work. It was a pleasure to receive so many submissions, each showing the particular talent and creativity--and, the incredible geographical scope--of the ArchDaily community. These are our favorites (in no particular order). Enjoy and submit your own drawing in the comments.
There’s no doubt that architects spend a lot of time in front of a desktop, be it virtual or three-dimensional. In fact, although this statistic is not exclusive to architects, the average time a person now spends sitting down per day is 7.7 hours; in the United States the average is an unbelievable 13 hours. Of course this includes time spent on the train, watching a movie on the sofa, or a whole range of other seated activities, but the vast proportion of this time is likely to be spent working by a desk or laptop.
How can you improve the quality of that time, so it’s both well spent and, ideally, minimized? To have a more efficient, productive—and most importantly, more pleasant—time at work, here are 13 ways to improve your physical and digital workspace.
Six exemplary projects have been announced as winners of the 2016 Aga Khan Award for Architecture. Presented once every three years, the award was established by the Aga Khan in 1977 to “identify and encourage building concepts that successfully addressed the needs and aspirations of communities in which Muslims have a significant presence.” To be considered for the award, projects must exhibit not only architectural excellence, but also the ability to improve users overall quality of life.
Selected from a shortlist of 19 candidates, the five winning projects will receive a $1 million dollar prize as they join an acclaimed list of previous winners, which includes buildings from Zaha Hadid, Norman Foster, Charles Correa, Frank Gehry, Jean Nouvel and Hassan Fathy.
Cars have reshaped cities across the world, largely at the cost of everyone outside of a private vehicle. In recent years the "grid city" of Barcelona has been suffering from clogged roads and choked air quality, with urban traffic contributing to the 3500 premature deaths caused by air pollution each year. Beginning in the district of Eixample, proposals laid out in the 2014 Urban Mobility Plan aims to diffuse traffic congestion and reduce air pollution in the city. In a recent film Vox have picked up on one of a number of potential schemes: the Superblock concept (known as superilles in Catalan). According to Salvador Rueda, the Director of the Urban Ecology Agency of Barcelona who developed the plan, these are "grid[s] of nine blocks [in which] the main mobility happens on the roads around the outside, [...] and the roads within are for local transit only."
Designed in 2006, and under construction since 2009, Toyo Ito & Associates much anticipated Taichung Metropolitan Opera House has finally officially opened. The design is notable for its cavernous, curved and folded interior forms, which produce a dramatic and complex section that is neatly resolved into a rectilinear exterior form. Taiwan-based photographer Lucas K Doolan visited the new Opera House to study its impressive internal spaces and its presence in the surrounding urban environment.
The Royal Institute of British Architects (RIBA) has awarded its 2017 Royal Gold Medal to Paulo Mendes da Rocha. The 87-year-old is among Brazil's most celebrated architects, known for his special brand of Brazilian Brutalism which has had a dramatic effect in his home country, particularly in the city of São Paulo. The award continues a spectacularly successful year for Mendes da Rocha, who won the Golden Lion for Lifetime Achievement at the 2016 Venice Architecture Biennale in May, and was announced the 2016 Premium Imperiale Laureate just weeks ago. Mendes da Rocha has also previously received the Pritzker Prize in 2006 and the Mies van der Rohe Prize for his Pinacoteca de São Paulo project in 2000.
Mendes da Rocha becomes the second Brazilian to win the RIBA's Gold Medal, after Oscar Niemeyer received the award in 1998. He joins other luminaries such as Zaha Hadid (2016), Frank Gehry (2000), Norman Foster (1983), and Frank Lloyd Wright (1941).
The United States is currently embroiled in what is unquestionably one the most bizarre and unpredictable presidential races in its history. In this strange context, the world of architecture has unexpectedly found itself a hot political topic, with one architect at the center of the controversy: Andrew Tesoro.
Tesoro's involvement in the presidential race began with a video created by Democrat nominee Hillary Clinton's campaign. In the video, Tesoro tells a story of how Republican nominee Donald Trump "bullied" him and his architectural firm Tesoro Architects out of "many thousands of dollars" which were owed for their design services. Subsequently, Tesoro received something of a shout-out from Hillary Clinton in Monday's presidential debate as evidence that Trump's business experience does not qualify him to be president.
Given the nature of the campaign video, which was undoubtedly edited to paint Trump in a negative light, many have understandably questioned whether Tesoro's opinions and story were accurately portrayed. This skepticism was then reinforced by a "condensed and edited interview" published by Forbes, which suggested that Tesoro's opinion of Trump was much more forgiving than the one perpetuated by the Clinton campaign. Given the confusion around Tesoro's true opinions, ArchDaily decided to give the architect a chance to present his message unambiguously. What follows are Andrew Tesoro's responses to three simple questions about Donald Trump. These responses have not been edited by ArchDaily staff.
The Nolli Map made history when it was created in 1748, largely because of its focus on public spaces. With it, Giambattista Nolli highlighted the fact that public places don’t exclusively exist in the forms of streets and parks, but also in enclosed spaces. Yet the importance of our communal areas is constantly being undermined. Our public areas exist to promote inclusion and equal opportunities, but despite that they are being forgotten and abandoned, debilitating their ability to bind communities together.
Given that the main goal of Studio Gang’s newly released, free, downloadable booklet, Reimagining The Civic Commons has been to “help communities everywhere activate their civic commons,” then, it is unsurprising that the booklet includes graphic maps reminiscent of Nolli’s visual aim. The booklet, which arose from work funded by the Kresge Foundation and Knight Foundation, focuses on the advancement of 7 types of “existing assets”: libraries, parks, recreation centers, police stations, schools, streets and transit. Since the start of Studio Gang's research, a larger, $40 million initiative has begun—funded by the JPB Foundation, The Knight Foundation, The Kresge Foundation and The Rockefeller Foundation along with a multitude of local donors—with plans taking shape in Philadelphia, Chicago, Detroit, Memphis and Akron. The graphic guide is designed to offer adaptable, cost-effective and flexible approaches to these spaces, so that it can be implemented over time and in a variety of different communities. Read on for our summary of the report’s 7 strategies for improvement.
During the IV International Congress in Pamplona, organized by the Architecture and Society Foundation, we had the opportunity to speak with Bjarke Ingels about his approach to theme "Architecture: Climate Change." The founder of BIG told us about the importance of clean technology and how these technologies must be integrated into architecture. He asserts that new industrial projects must also break from traditional paradigms and question established concepts in order to be reintegrated into communities as clean, attractive and multi-use spaces. Ingels suggests that clean technologies holds exciting possibilities for public spaces.
White Elephants: Over-Budget, Unsuccessful, and Embarrassing Architecture Projects From Around the World
Not every piece of architecture can be an economic and social success. But there is one dreaded term reserved for only the mot wasteful of projects: "white elephants." The term comes from a story of the kings of Siam, now Thailand, who would reportedly gift sacred albino elephants to courtiers they didn't like. Refusing the gift from the king would have been unacceptable, but being sacred, these animals were forbidden from work, leading the courtier to financial ruin—a fact the kings knew all too well.
Of course, in architecture the term "white elephant" is used frequently to disparage certain projects, and whether a project is deserving of such infamy is usually a matter of perspective. Often eyesores or reminders of poorly spent funds, these projects refuse to be forgotten despite few wanting to remember them. Dotted around the world and across history, they all have the same thing in common: although they may (or may not) have once looked good on paper, they probably should have just stayed on paper.
All the world’s a stage – quite literally so, in the case of the Container Globe, a proposal to reconstruct a version of Shakespeare’s famous Globe Theatre with shipping containers. Staying true to the design of the original Globe Theatre in London, the Container Globe sees repurposed containers come together in a familiar form, but in steel rather than wood. Founder Angus Vail hopes this change in building component will give the Container Globe both a "punk rock" element and international mobility, making it as mobile as the shipping containers that make up its structure.
In architecture, perhaps the most remarkable change heralded by the 20th was the radical rethinking of housing provision which it brought, driven by a worldwide population explosion and the devastation of two world wars. Of course, Modernism’s reappraisal of the design and construction of housing was one part of this trajectory, but still Modernism was underpinned by a traditional process, needing clients, designers and contractors. Arguably more radical were a small number of fringe developments, such as mail-order houses in the US and Walter Segal’s DIY home designs in the UK. These initiatives sought to turn the traditional construction process on its head, empowering people to construct their own homes by providing materials and designs as cheaply as possible.
In the 21st century, the spirit of these fringe movements is alive and well, but the parameters have changed somewhat: with a rise in individualism, and new technologies sparking the “maker movement,” the focus has shifted away from providing people with the materials to construct a fixed design, and towards improving access to intellectual property, allowing more people to take advantage of cheap and effective designs. The past decade has seen a number of initiatives aimed at spreading open source architectural design--read on to find out about five of them.
Zaha Hadid Architects' new Port House in the Belgian city of Antwerp, which has been almost a decade in planning and construction, officially opens this week. A monumental new structure sits above a repurposed and renovated (formerly derelict) fire station, providing a new headquarters for Europe's second largest shipping port. Housing 500 staff, who will now be under the same roof for the first time, the building represents a sustainable and future-proof workplace for its employees. Photographer Laurian Ghinitoiu has visited to capture his unique perspective on this new addition to the city's crane-covered skyline.
This exclusive photo essay by Laurian Ghinitoiu was originally commissioned for the fifth issue of LOBBY. Available later this month, the latest issue of the London-based magazine—published in cooperation with the Bartlett School of Architecture—examines the theme of Faith as "a fervent drive, a dangerous doctrine, a beautifully fragile yet enduring construct, an unapologetic excuse, a desperate call for attention and a timely consideration on architectural responsibility."
In 1986 the Pritzker Architecture Prize announced their first German laureate. In a speech at the ceremony in London’s Goldsmiths’ Hall, the Duke of Gloucester suggested that the prize “may not guarantee immorality,” inferring, perhaps, that not even the most prestigious award in architecture could compete with an œuvre so compact, focussed and enduring as that of Gottfried Böhm – a “son, grandson, husband, and father of architects.”
The Port Authority of New York and New Jersey has revealed the five finalists teams in competition to redesign the Port Authority bus terminal in west Manhattan: Arcadis of New York, Archilier Architecture Consortium, Hudson Terminal Center Collaborative, Pelli Clarke Pelli Architects, and Perkins Eastman.
The Port Authority Bus Terminal International Design + Deliverability Competition challenged architects to reimagine the current terminal building, built in 1950 and expanded in 1979, for the demands of modernday ridership. The terminal currently accommodates approximately 220,000 passenger trips and more than 7,000 bus movements on an average weekday, with demand projected to increase to 270,000 daily peak-hour passengers by 2020, and as many as 337,000 daily peak-hour passengers by 2040.
Continue reading to see each of the designs.
This article was originally published on Autodesk's Redshift publication (formerly known as Line//Shape//Space), under the title "Live, Work, Play: WeLive’s Live-Work Spaces Reveal a 'Third Place.'"
According to urban sociologist Ray Oldenburg, people need three types of places to live fulfilled, connected lives: Their “first place” (home) for private respite; their “second place” (work) for economic engagement; and their “third place,” a more amorphous arena used for reaffirming social bonds and community identities.
This third place can be a barbershop, neighborhood bar, community center, or even a public square. The desire for these three separate spheres drives how human environments are designed at a bedrock level, but increasing urbanism—as well as geographic and economic mobility—are collapsing these multiple spaces into one. The result is a new hybrid building type: a live-work multiunit dwelling that is home, office, and clubhouse.