Architects: GAD Architecture
Location: Eskişehir/Eskisehir, Turkey
Project Coordinator: Nesime Önel
Design Team: Ertugrul Morcol,Carlos Valderama, Gizem Kiroglu,Omer Karaer,Durak Arıkan, Ayşegül Altuğ,Derya Arpac,Mehmet Baykara, Asli Genc,Muge Tan
Area: 45000.0 sqm
Photographs: Courtesy of GAD Architecture
Developers Dubai Holding have announced their plans to build the ‘Mall of the World’ a new 48 million square foot tourist district in Dubai that will host the world’s largest mall, a new cultural district, a theme park and 20,000 hotel rooms. What’s more, the district’s 7km street network will be covered by a retractable roof during the summer months, creating the world’s first “temperature controlled city”.
Read on after the break for all the details
Based at the Architectural Association school of Architecture and linked to the Phd research program at UIAV, Saturated Space takes a comprehensive look at the “grammar” and history of colour in architecture, the perceptual and phenomenological principles of colour in relation to the human subject, and the socio-political aspects of colour as a culturally active agent. This article, written by architect and CLOG editor Jacob Reidel, originally appeared as “Powerful Colours” on Saturated Space‘s website, a forum for the sharing, exploration, and celebration of colour in Architecture.
Let’s admit it, architects are suspicious—if not a little scared—of colour. How else to explain the default contemporary architect’s preference for exposed finishes such as concrete, brick, COR-TEN steel, stone, and wood? Perhaps this is because an architect’s choice of applied colour may often seem one of the most subjective—and hence least defensible—decisions to be made over the course of a project.* Indeed, applied colour seldom performs from a technical standpoint, and it is the architect’s taste, pure and simple, which is often on the line whenever a specific colour is proposed to the client. Or perhaps architects’ mistrust of applied colour owes something to the profession’s well-known controlling tendencies and the fact that colour is one of the most mutable aspects of a building; better, we architects are instructed, to focus on “important” and “architectural” decisions such as form, space, materials, program, and organization. Indeed, it is far easier for a future owner to repaint a wall than it is to move it.
Foster + Partners has released new images of 425 Park Avenue in New York, the project which turned heads in 2012 when videos of the four competing architects presenting their proposals were released to Youtube. The new images show a slightly altered design for the glazed entrance, where a mezzanine on either side replaces what was originally a double height space in the entire lobby. The new images also give a glimpse into the building’s interiors, where curtain glass walls make the most of spectacular views across Manhattan and Central Park. Read on after the break for all the images.
Update: The Japan Sport Council has now unveiled images of ZHA’s redesigned Tokyo National Stadium, which Zaha Hadid Architects say will make “make the stadium even more efficient, user-focussed, adaptable and sustainable.” The capacity of the stadium will remain at 80,000 seats.
After sustained protest from Japanese architects and citizens alike, Zaha Hadid Architects have confessed that they are modifying their designs for Tokyo’s National Stadium, the centerpiece for the 2020 Tokyo Olympics. After repeated criticism, including a petition launched by Pritzker laureates Toyo Ito and Fumihiko Maki, the Japanese Government had already announced a plan to reduce the cost from its original budget of $3 billion to a more manageable $1.7 billion.
Now, the International Olympic Committee (IOC) has added fuel to the fire by saying that it would support a scaled-back plan for the entire event: “We want to see more existing venues, we want to see the use of more temporary grandstands,” said Committee vice president John Coates.
More on Tokyo’s plan to dial down its Olympics after the break
Matthew Simmonds, an art historian and architectural stone carver based in Italy, has created a collection of exceptionally beautiful miniature spaces carved from stone. Having worked on a number of restoration projects in the UK – from Westminster Abbey to Ely Cathedral - his skills have been transferred into work of a much smaller, if not more intricate, scale. Hewn from large stone blocks (some of marble), the level of intricacy Simmonds has achieved in the architectural detailing is almost incredible. Capitals, vaults and surfaces all distort and reflect light in a very beguiling way.
As of this week Aedas, which was recently ranked as the 5th largest and influential practice in the UK by the Architects’ Journal, has demerged into two separate practices. The thirteen offices in China, South-East Asia, the Middle East and the US, will continue to operate under the Aedas brand whilst the eight UK offices and the offices in Russia, Poland and Kazakhstan will operate under a new name: AHR. According to the outgoing board, the demerger “will allow both companies to focus on their respective strengths and will enable them to grow the businesses in different directions.” The intention is that both groups will continue to work together on projects in the future.
115 entries from 39 countries! This was the number of architectural and design students who entered this year’s international concept competition – the Troldtekt Award 2014. The EUR 5,000 prize was won by three students from Escuela Superior de Arquitectura in Guadalajara (Mexico) for their project Troldtekt Raw. The jury was so impressed with the overall quality of the entries that three special prizes were also awarded, while a further four projects received honourable mentions.
SuperPuesto is a temporary pavilion by Terence Gower commissioned by The Bronx Museum of the Arts in collaboration with the Andrew Freedman Home for Beyond the Supersquare, the first U.S. museum exhibition to examine the complicated legacies of modernist architecture in Latin America and the Caribbean through the perspectives of 30 contemporary artists. With the goal of providing an immersive space for visitors to experience the exhibition’s artistic and architectural themes, SuperPuesto also serves as an annex for educational and public programs related to Beyond the Supersquare.
“We were sensitive to the way in which society was becoming more consumption-oriented and gave serious thought to how we ought to respond to that change without simply accommodating ourselves to it.” -Toyo Ito
“I was entering a dead world, which would never see the light of the day. I wanted to treat that dead world as if it were alive, or to put it another way, to try to create a different reality.” - Terunobu Fujimori
Under the title of Fundamentals, Koolhaas’ Biennale asked national pavilions to focus on their respective countries’ relationships with modernity, the movement that has, for better or worse, shaped the contemporary city. In the case of Japan, modernity was expressed in a unique way, as architecture was instrumental to the rapid industrialization and growth that the country experienced after World War II. This growth resulted in the first architectural avant-garde outside of the Western world. By the 70s, as this movement reached its peak, local architects, historians, artists and urbanists began to look at modernism in a critical way, questioning its impact.
In “The Real World,” the Japan exhibit at the Biennale, curator Norihito Nakatani unearths how this critical movement expressed itself through Osamu Ishiyama, Toyo Ito, Terunobu Fujimori, and other Japanese masters whose works strove to connect to the human of “the real world” rather than contribute to the failed utopias of modernism. Interviews with this group of architects bring to light the desire that they had to positively impact society, and how they attempted to materialize that desire in their early works. The objects found inside the pavilion articulate the storytelling behind the process, leaving their interpretation open to visitors.
“You’ve got to try to make an impact on the times you live in, and you’ve got to do it through your work, not through words.” – Osamu Ushiyama
“Actual objects continue to possess tremendous energy – much more so than photographs or models.” – Tsutomu Ichiki
More about the “In the Real World” after the break: