Architects: Architects Tillman Ruth Robinson
Location: 1001 Fanshawe, London, Ontario, Canada
Principal-in-Charge: Tom Tillmann
Designer: Jason McIntosh
Collaborators: Mechanical and Electrical Engineers, Vanderwesten Rutherford Mantecon; Structural Engineers, Hastings & Aziz; Civil Engineers, Development Engineering; Landscape Engineers, Ron Koudy’s Landscape Architects; General Contractor, D. Grant & Sons
Client: Fanshawe College Centre for Applied Transportation Technology
Project Size: 150,000 sq. ft.
Photographs: Lisa Logan
If you are in the Bay Area this weekend, we recommend you stop in at the San Francisco Museum of Modern Art (SFMOMA) and check out their current exhibit The Utopian Impulse: Buckminster Fuller and the Bay Area. This exhibition is the first of its kind, featuring Buckminster Fuller’s most iconic projects as well a focus on his local design legacy in the Bay Area. Though he was never a resident, Fuller’s ideas inspired many local experiments in the realms of technology, engineering and sustainability. Continue reading for more information.
Central Saint Martins, part of the University of the Arts London, has a new home quite different to the buildings it inhabited previously. Designed by award-winning architects Stanton Williams, the brand new campus behind King’s Cross is a space certainly worth exploring. Crane.tv took a tour of the building speaking to architect Paul Williams and Head of College Jane Rapley along the way to hear more about the new campus and why the building will induce even more ambition from staff and students as they move into the future.
If this registers no reaction from you, let me explain why it should. Paul Goldberger is the crowned prince of criticism. He began his career at The New York Times in 1972, where he worked under Ada Louise Huxtable, our reigning critical queen, and where he won a Pulitzer Prize. In 1997, he switched media empires:
But, after years of “fighting for adequate space” in an increasingly shrinking column, Goldberger won’t be finishing his writing days as Architect Critic of The New Yorker, but as Contributing Editor of Vanity Fair.
Many will conclude that this is a death knell for architecture; that if architecture cannot justify its own column at The New Yorker, one of the most influential publications in the world, then it must no longer be deemed relevant. This is what happened when Michael Kimmelman, an Arts reporter with no architectural training was appointed to cover architecture at The Times. Critics tweeted: “NYT to Architecture of NYC: Drop Dead” and “Architecture: you’ve been demoted.”
I too will add a cry to the din: “The Architecture Critic is Dead!” But you know what? Good riddance. Because criticism hasn’t died the way you think. It’s just been changed beyond recognition. And frankly, for the better.
Read more on the transformation of architecture & its criticism after the break…
The Aliah Project, a hotel for a green World Cup, designed by Hiperstudio + Arkiz has been awarded as the winner of a competition organized by Aliah, a company which promotes sustainable development through practices and businesses that are profitable with a positive socio-environmental impact. A sustainable luxury hotel complex for the 2014 World Cup, their design serves as a model of sustainable architecture by disseminating innovative concepts that promote a green lifestyle. More images and architects’ description after the break.
Architects: Marsino Arquitectos Asociados
Location: Av. Independencia 1101, Independencia District, Santiago, Chile
Project Architects: Jorge Marsino P., María Inés Buzzoni G., Diego Achurra Q., Claudio Santander L.
Design Team: Camila Perez A., Fernando Tocornal C., Alfonso Kunstmann M.
Gross Floor Area: 1,091 sqm
Budget: $ 594,33,.419 CLP / U$ 1,188,665
Client: Independencia Municipality
Structural Engineering: Claudio Hinojosa Torra
Contractor: Constructora Sinamaika Ltda
Photographs: Aryeh Kornfeld
The proposal for the new church in Våler by We Are You… plays an important role in the landscape marking a new chapter in the history of Våler and presenting itself as a public meeting place for the people. This