To celebrate International Women's Day, we asked the Brazilian non-profit group Arquitetas Invisíveis to share with us a part of their work, which identifies women in architecture and urbanism. They kindly shared with us a list of 48 important women architects, divided into seven categories: pioneers, "in the shadows," architecture, landscape architecture, social architecture, urbanism and sustainable architecture. We will be sharing this list over the course of the week.
Yesterday we brought you The Pioneers, and today we present the women architects that have lived in "the shadows" of the some of the great names in the architecture world.
Ennead Architects has won an international competition to design the Shanghai Planetarium. The “celestial” design hopes to elevate the Shanghai Science and Technology Museum’s (SSTM) “scientific and technological capacity” while redefine the district Lingang upon its completion in 2018.
“Drawing inspiration form astronomical principles, our design strategy provides a platform for the experience of orbital motion, and utilizes that as a metaphorical reference and generator of form,” says Ennead Architects.
Seven years ago today, ArchDaily was launched with one mission: to provide inspiration, knowledge and tools to the architects who are challenged with designing for the world's next 3 billion urban inhabitants. With two guiding principles in mind - that little-known architects should be able to rub shoulders with architecture greats, and that all of this should be free and accessible to everybody - we set about on a path that would eventually lead us to become the world's most visited architecture website, with over 350,000 daily readers.
“It is an honor to design this centerpiece stadium – we are delighted to have won the international competition. This is an exciting step forward in stadium design – it will be the first to break the mould of the free standing suburban concept, and instead anticipates the grid of this future city, of which it will be an integral part,” said Norman Foster, founder of Foster + Partners.
In the grand tradition of MoMA PS1's Young Architects Program winners, Andrés Jaque's plan for "COSMO" addresses an ecological need through installation architecture. While 2014's "Hy-Fi" by the living explored organic bricks and 2012's "Wendy" by HWKN addressed airborne pollution, Jaque has set his targets on something that is apparently much more political: water. This article, originally published by Metropolis Magazine as "The Politics of Water: Andrés Jaque on His 2015 MoMA PS1 YAP Winning Design," examines how Jaque hopes to turn his installation into a political talking point.
At first glance, Bill Gates’s robotic Janicki Omniprocessor and Andrés Jaque’s winning proposal for the 2015 MoMA PS1 Young Architects Program (YAP) share a similar goal—they each tackle the problem of global water scarcity, which has become exacerbated by climate change, political strife, and a host of other factors. But while the Omniprocessor looks like a cement factory in miniature, Jaque’s project melds its profoundly social objective—to change the way we understand contemporary water infrastructure—to an almost psychedelic aesthetic.
If the architectural volte face of the late 1960s heralded the genesis of postmodernism, deconstruction, and a golden age of theory, it came at an equally destructive cost. Escaping the totalizing regime of modernism demanded from architects more than the promise of new ideas; it required the falsification of modernist axioms and the wholesale annihilation of its spiritual eidos. In this critical moment of death and rebirth, some pieces of the modern project survived only by hiding under the cloak of the technological progress, while others—like modern city planning—persisted only because there was no way to turn back the clock.
The Guardian Art Center features none of the dramatic cantilevers and futuristic formal experimentation of Büro Ole Scheeren's other works. Instead the "hybrid art space" - located in the heart of Beijing, just a stone's throw from the Forbidden City - references the scale and materiality of the adjacent traditional buildings. The lower floors, containing an auction house and a museum with a 1,700 square meter exhibition-events space, comprise an aggregation of small "pixelated" blocks, clad in stone with a pattern of perforations derived from a 700-year-old Chinese landscape painting. Though the upper portion of the building, containing a 120-room hotel and a restaurant, is larger in scale, it is broken down by a facade of oversized glass "bricks," again a reference to the materials of the hutong next door and a "humble and non-elitist symbol in Chinese culture," according to the press release.
To find out more about this intriguing building, we spoke to Ole Scheeren, who assured us that in spite of its appearance, the Guardian Art Center is just as radical as his previous works. Read on after the break for the full interview.
Named for its location at the intersection of Vasastaden and "the Haga city" of Hagastaden, Belatchew Arkitekter's "HagaTwist" has been selected by Atrium Ljungberg as the winner of an invited architectural competition for the construction of a public building in Stockholm. Envisioned as a "meeting place" for visitors, workers, and locals alike, the project will feature a flexible program and incorporate a restaurant and rooftop terrace.