Last week I asked how architecture can ramp up its efforts to do all it can to help limit climate change. Sandy is a turning point. It will take action on the part of the profession and its members to make this turning point meaningful. Turning points are easily forgotten after the panels have been convened and the articles written. The vicarious thrill of crisis abates and everyone returns to business as usual, feeling better for having contributed to the discussion. If we listen to the scientists, we must not lose that sense of crisis and we must do more.
The recently-released World Bank report “Turn Down the Heat: Why a 4°C Warmer World Must be Avoided” indicates the magnitude of the problem. It is so vast and deep that it easily overwhelms individuals. As they discuss in the report, only collective, international action will lead to measures substantial enough to make a change in the trajectory the planet is headed for. Architecture can be a powerful collective in the face of such a challenge.
Continue reading The Indicator after the break
Architects: Mata y Asociados
Location: Salamanca, Spain
Architect: Salvador Mata Pérez
Design Team: Myriam Vizcaino Bassi, Javier Encinas Hernández, Eduardo García García, Jaime Pedruelo Sánchez, Stefania Augliera, David Emiliano Fernández Mateos (model),
Engineers: Euroestudios, A2V ingenieros
Photographs: Juan K. Ayala
Building on a previous piece entitled “Suspension Bridge, the passage”, Olivier Grossetête…’s ‘Pont de Singe’ in the UK is a model of floating bridge attached to helium balloons, thus taking literally the term “suspension bridge “. The object aims
Proposed by Talmon Biran Architecture Studio…, the Yad Le’Banim building is located within an existing grove at the local council of Ramat Yishay, Israel, which provides a unique opportunity to integrate landscape with the architectural design. This setting doesn’t
Architects: IA+B Arkitektura Taldea
Location: Busturia, Spain
Leading Architects: Iñaki Aurrekoetxea, Alex Laskurain
Collaborators: Oier Arregi, Victor Araujo, Aitzol Artetxe, Mikel Azkuna, Erramon Berastegi, Ramon Gonzalez, Asier Hormaetxea, Ignacio Lumbreras, Fernando Martin, Carmen Montero, Celia Lana, Garbiñe Olabarri, Iñaki Peralta, Saioa Zabala
Area: 3,142 sqm
Photographs: Aitor Ortiz
With locally grown and organic food becoming more popular in the Czech Republic, EDIT!… was asked to design a market stall for a new concept of Green Markets. Through a reconfiguration of the typical retailing method, the architects create a
There’s a saying that goes “Those who can’t do, teach.” But many could also claim: “Those who can’t do, critique.” Criticism, particularly Architecture Criticism, tends to get a bad rap for being subjective, impenetrable, and – ultimately – useless. But Paul Goldberger, a champion of the craft, would disagree.
In his acceptance speech for the Vincent Scully Prize earlier this month, Goldberger, the long-time architecture critic for The New York Times and current contributor to Vanity Fair, suggests that Architectural Criticism isn’t just vital – but more important than ever before.
With the advent of visually-oriented social media like Twitter, Pinterest, and Tumblr, it’s never been easier for the architectural layman to observe, share, and consume architecture. However, in the midst of this hyper-flow of image intake, Goldberger argues, meaning gets lost.
That’s where the critic comes in.
Kohn Pedersen Fox Associates were recently selected to design a giant office building the landlord hopes to build next to Grand Central Terminal. Selected by SL Green Realty Corp., the architects’ design would be one of the largest Midtown towers on the East Side in a generation. While building in New York is a challenge, SL Green is moving ahead full steam with planning. The company is in discussions with the Metropolitan Transportation Authority to obtain additional development rights by building pedestrian improvements including underground connectors to Grand Central, according to executives informed of the planning. More information after the break.