There are few topics that stir up more controversy on ArchDaily than that of women in architecture. From those of you who vociferously advocate for women in the field to those who steadfastly purport that gender has no place in architecture at all, you, our readers, represent a wide spectrum of viewpoints and opinions on the subject.
And so, in honor of International Women's Day, we've decided to take a look back at some of our past comment-stirring articles (even more after the break):
Woods Bagot has shared their design for a destination hotel in Zhejiang, China. The Wenling Sheraton, sited between two waterways, is scheduled to be completed in 2019. Woods Bagot says that views of the wetlands and mountains of Wenling will "ensure a quality guest experience" which includes waterfront dining, an observation deck and a pedestrian promenade.
Tadao Andohas been commissioned to design his first New York City building. Though little information has been released, the residential development firm Sumaida + Khurana has closed a deal with the Japanese architect to design a 32,000 square foot, eight-unit, luxury condominium building at 152 Elizabeth Street in Nolita. Construction is expected to begin later this year and the building will be completed in 2016.
From the architect. The Cube, a sixteen meter tall painted steel and rope installation designed for the 2013 Beijing Biennale by the Oyler Wu Collaborative, challenges the volumetric perception of its own archetypal geometry. The aspiration of the installation is to achieve the transcendence of the first dimension - the line - by simulating warping two-dimensional planes, which penetrate and populate the object framework, to create the perception of inhabitable three-dimensional space.
Spanish firm Ensamble Studio has always captivated me with the high level of experimentation found in their built works. Their construction processes are unique, and their projects elegantly explore the tension between structure, matter and space with impeccable technical execution--as seen at the award-winning Hemeroscopium House’s delicately balanced intersected prefab elements.
From the small Truffle in the Mediterranean coast, to the delicate roof of the Cervantes Theater in Mexico City, their work is always reinterpreting materials. The Cervantes Theater roof, for example, stands elegantly between projects by FR-EE and Chipperfield, marking the location of an underground venue below through a carefully balanced steel structure. From certain angles, though, one sees a laminar structure that lets light pass through.
In this interview Antón tells us that architecture is part science, part poetry, and that Ensamble has found success by treating their practice as a laboratory, academy and consultancy company. Read the full transcript after the break.
The City of Montpellier has chosen Sou Fujimoto Architects, Nicolas Laisné Associés and Manal Rachdi Oxo architects’ “White Tree (L’Arbre Blanc)” as winner of the "Architectural Folie of the 21st Century" competition. Inspired by the city’s tradition of outdoor living, and the efficient properties of a tree, the mixed-use residential tower will feed off locally available natural resources as it rises 17-stories and connects the new and old districts of Montpellier.
Eyebeam, a non-profit art and technology center currently based in Manhattan, has commissioned WORKac to design its future Brooklyn home. Planned for the corner of Lafayette Avenue and Ashland Place, within a mixed-use development designed by Dattner Architects and Bernheimer Architecture that will include market-rate and subsidized housing as well as a restaurant, the 27,000 square foot cultural facility will accommodate for the organization’s world-renowned artist residency program, diverse public programming and innovative education offerings for adults and teens. According to the developer, Jonathan Rose Companies intends to break ground next year with completion slated for late 2016.
In this article originally published by Metropolis Magazine as "Urban Hopes, Urban Dreams", Samuel Medina reviews a new book on the work of Steven Holl in China. Focusing on five major projects, the book places Holl's work in the wider context of his urbanistic influences - including ideas from his own early paper architecture that are just now resurfacing.
Steven Holl is the rare architect whose concepts are equally known as his buildings. Chalk that up to Holl’s prolific output, in both buildings and monographs, and his knack for branding his ideas. Urban Hopes: Made in China (Lars Müller, 2014), a condensed reader on Holl's latest work in China, is the latest in a stream of small books that have continually repackaged the architect's growing body of work.
Anchoring and Intertwining appeared in 1996 and expounded on architectural themes and spatial notions only partially evinced by his work up until that time. In both, the buildings were few and far between, scattered between pages imprinted with “paper architecture,” the primary outlet for Holl’s creative energies in the prior decades since his move to New York in 1976. These and more titles were followed up by Parallax in 2000, a blend of philosophical, scientific, and poetic references that invest the architecture with the aura of the Gesamtkunstwerk. Holl’s idea of “porosity” made its debut here, if prematurely, where it was applied rather literally to Simmons Hall at MIT and its sponge-like facade. It wasn’t until a few years later, when the architect first got his feet wet in China, that the concept would be baptised as a core tenet of 21st-century urban design. 2009’s Urbanisms advances as much, while further recapitulating the big ideas of the previous book installments.
Read on after the break for the review of Urban Hopes
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).