Designed by, RMC (Raafat Miller Consulting) Architects & Engineers…, their proposal for the National Museum of Afghanistan aims to best represent the heritage and the people of the country through a practical, innovative and enduring physical plan. This building
Established in June 2010, 100Landschaftsarchitektur… shared with us the current status of Jardin de la Connaissance which is still up and thriving. With the knowledge truly disappearing into the forest, the book structures have decayed in the natural setting, but
La ciudad socializante vs la ciudad alienante is aimed for the general audience, not just the architects, presenting a series of graphic-chromatic notes and sketches by Domenico Silvestro, who was very kind and showed us the pavilion. You can see him on the photos below.
In the exteriors of the Arsenale we found Radix, the installation designed by Portuguese office Aires Mateus (Francisco and Manuel Aires Mateus), an elegant contemporary response to the architectural setting of the Biennale.
The installation recognises the nearby docks of the Arsenale designed by Jacopo Sansovino between 1568 and 1573, which is flanked by arched walkways that inspire this structure. Radix is an arch supported on three points with the fourth corner hanging over the water, turning the otherwise massive steel structure into a lightweight balanced volume.
More pictures after the break.
Pasticcio, the exhibition curated by Caruso St John, invites a group of seven contemporary European architects from different countries and generations, whose practice in engaged with the language and the history of architecture, both recent and ancient. Their work tries to establish continuities with an architecture before modernism.
Themes include a consideration of proportion, ornament, typology, and interest in making interiors, in colour and in working with existing buildings, but the works are linked in spirit rather than in form or programme. The intention is to show how potent and diverse a contemporary architecture grounded in continuity and a common culture can be.
SPURA is one of the many adopted acronyms used to describe New York City’s division of neighborhoods. But unlike SOHO, NOHO, or Tribeca, SPURA is actually the name of a development site in Lower Manhattan, the Seward Park Urban Renewal Area, to be exact. The history of the site is a story of politics, economics and social pressures. After fifty years of debates between community leaders, activists and designers, the City Planning Commission has given a proposed development plan the green light. That means that following a land-use review process called ULURP, a city council vote and the Mayor Bloomberg’s final approval, the site may finally transition from a street level parking lot into a mixed-use development full of retail stores, offices, community facilities, a new Essex Street market, a hotel, a park and 900 apartments that will occupy 1.65-million-square-feet.
Join us after the break to read more on the development and to see other alternative creative proposals that this site has inspired over the years.
Alvaro Siza, winner of the 13th Venice Biennale Lifetime Achievement, created this structure in the gardens of the Arsenale, right next to another structure by Eduardo Soto de Moura that we will feature on a separate article. This follows the longtime collaboration of the two Portuguese masters.
Alvaro Siza’s structure establishes a relationship with a different aspect of Venice – that of the dense urban environment. Three faceted walls generate two intimate spaces in the middle of the garden designed for the 12th Biennale in 2012 by Piet Oudolf, a tribute to the compact urban tissue of Venice, which frames particular views of the exteriors of the Arsenale.
More photos after the break:
Curated by Toshiko Mori. All architecture must inevitably contend with history and gravity. These two forces are both fundamental and universal; to confront them is accordingly not only to take the crucial step in any attempt to reinvent the contemporary language of architect but to connect to a vast lineage of historical precedents, creating a platform for developing the discipline’s future as well as reflecting on its past. In Toshiko Mori’s case a series of dialogues with five American masters transpired from projects that required her to work next to, in addition to, or in reference to their creations.
Through these projects they discovered that close studies at the level of the detail create moments of complex interchange, both literal and historical, disciplinary and existential. The details presented here are wall sections, the interface between interior and exterior. This minimal one has always been contested: the twentieth century strove for a transparent boundary that could expose interior through psychoanalysis, while the twenty-first century attempts to erase that boundary through virtual space. And so these five pairs of “totems” express common technical and tectonic concerns even as they mark the historical transition of architecture from the pas, through the present, into the future.
The exhibit consists of 10 detailed sections of major architects such as: Frank Lloyd wright, Mies van der Rohe, Philip Johnson, Marcel Breuer, and Paul Rudolph.
More photos after the break.
We jump back to the end of 1940′s to remember the film based on Ayn Rand’s acclaimed book, The Fountainhead. The movie talks about the architectural debate between the industrialisation of the profession and the individual creation. An issue that we can consider still questionable nowadays.
I guess most of our readers have seen this classic or have read the book instead. Let us know your thoughts about the “creation” concept in architecture.
Although our digital age allows us to peruse the latest in fashion, furniture and leisure all digitally, sometimes, there’s nothing quite like mindlessly flipping through the pages of a catalogue. Yet, the digital world is quickly penetrating even the tangible pages of furniture magazines, such as IKEA’s latest 200+ million print copies which are replacing labor intensive sets with digital renditions of furniture layouts and color combinations.
As architects who are constantly bombarded with renderings and spend hours perfecting that chosen perspective, can we spot what’s real and what’s not in the catalgoue pages below? Does that glossy kitchen countertop or fluffy blue couch really exist? Or, did IKEA’s digital modelers work their magic and fool us with the renderings – a move that saves IKEA money and still maintains the desired effect.
More after the break.
For over a century, the Venice Biennale (La Biennale di Venezia) has been one of the most prestigious cultural institutions in the world. The avant-garde institution has remained at the forefront in the research and promotion of new artistic trends, while leading international events in the field of contemporary arts that are amongst the most important of their kind. Over the past thirty years, the Biennale has given growing importance to the Architecture Exhibition, which is still a young component of the Biennale considering that its first exhibition was held in 1975. Today, the Venice Biennale captures a multitude of interest from around the globe and attracts over 370,000 international visitors.
Before the festivities of the 13th Venice Architecture Biennale begin tomorrow, read up on the origin of this highly acclaimed international exhibition.
A timeline history of the Venice Architecture Biennale: