This article from Metropolis delves into China’s urban development of many African cities, and the effect this has had on the architectural quality of those cities. Chinese contractors and architects are able to propel a city’s growth at lower cost and on schedule, but in doing so, they out-compete local companies and ignore cultural context. Is this an acceptable trade-off? Read the full article and decide for yourself.
The factory of the world has a new export: urbanism. More and more Chinese-made buildings, infrastructure, and urban districts are sprouting up across Africa, and this development is changing the face of the continent’s cities.
Or so says Dutch research studio Go West Project , who have been tracking this phenomenon for their on-going project about the export of the Chinese urban model to Africa. Since 2012, the group, made up of Shanghai-based architect Daan Roggeveen and Amsterdam-based journalist Michiel Hulshof, have visited six African cities to do research. Roggeveen and Hulshof recently released their preliminary report in an issue of Urban China, a magazine focusing on Chinese urban development.
In this interview with Daniel Libeskind, originally featured on Metropolis asQ&A: Daniel Libeskind on Italy, Product Design, and the State of Architecture Today, Paul Clemence talks to Libeskind about his perspective on Italian culture, its influence on his career, and his most recent foray into product design.
When you talk to Daniel Libeskind, no single question has a simple answer. From his days as a young musical prodigy (he played the accordion) to his directorship at Cranbrook Academy, not to mention his voracious passion for literature, the fascinating episodes of his life all come together, informing his approach to design and architecture. His career path is an unusual one. And while that is true for many architects, his is particularly interesting, where each twist and turn, no matter how ostensibly disconnected, seem to have always prepared him for his next step. Take his two highest profile jobs, the Jewish Museum in Berlin and the master plan for Ground Zero. The two are intrinsically linked—the museum’s official opening to the public in 2001 was originally scheduled on September 11. The project had taken 13 years of political maneuvering to realize. Similarly, Libeskind's World Trade Center site master plan was marred by a decade of delays and alterations, which threatened to blot out his original design intentions. One monumental task after the other, eerily similar in challenging circumstances, both offering the architect a rare opportunity to helm projects richly entrenched in emotion, symbolism, and historical significance.
Now as his career moves beyond these two important projects, the architect's connection to Italy is beginning to play a pivotal role in his work. He moved there after his time at Cranbrook, when he was looking for new career challenges. Libeskind has been back in America since he was commissioned the Ground Zero project, but he recently opened up a studio in Milan, where he, his wife, and son oversee the firm's forays in product design.