theCharrette, an architecture and design publication written and produced by students at the Tulane School of Architecture, focuses on the power of journalism to expose and investigate themes, trends, and subtleties in an interdisciplinary context both within the city of…
The Skanska: Bridging Prague International Design Competition, announced by reSITE Festival, ARCHIP (Architectural Institute in Prague) and Skanska, seeks to find new conceptions and proposals for the River Vltava, in Prague, Czech Republic. The scope of the competition is the…
gmp Architekten was recently awarded the first prize in the international competition to build the Culture Center in the newly created Changzhou city center. With a total floor area of 365,000 square meters, the building in this city of three million, between Wuxi and Nanjing, is six times the size of the Louvre in Paris. Reflecting elements of Changzhou’s southern Chinese culture and the city’s prominent water features, their design includes a number of museums such as an arts museum, a science and technology museum and a library, together with service facilities supporting the center for culture in the Xinbei district of the city. More images and architects’ description after the break.
Dr. Margot Krasojevic is known for using digital parameters to explore the psychological effects of architecture – materials and spatiality – on its inhabitants. The Hanging Hotel / Suspended Campsite is one such project that was completed in October 2011 for Holden Manz Wine Estate Cape Town in Massif de L’ Esterel, (Gorges Du Vedron) South of France. The project is an investigation in the choreography of perceptions of the environment around us. In this particular project, catering to rock climbers, Dr. Krasojevic uses compound glass and a prism louver system to alter how the climbers see their environment and stimulates different psychological experiences based on these subtle shifts in vision.
More on this project after the break.
After remaining on hold since 2005, the General Services Administration (GSA) has reinstated plans to construct a new U.S. Courthouse in downtown LA. The 3.7 acre dirt lot at 107 South Broadway, down the street from Morphosis’ Caltrans building, LA’s City Hall, and the Walt Disney Concert Hall, has remained dormant since 2007; shortly after the GSA abandoned Perkins + Will’s estimated $1.1 billion conceptual design due to rising costs. Now, plans for the courthouse have been scaled back and the GSA has just released the shortlisted teams competing of the project. Continue reading after the break to see who made the cut.
Architects: Brooks + Scarpa Architects
Location: West Hollywood, California, USA
Project Team: Lawrence Scarpa, FAIA – Principal- in-Charge. Angela Brooks, AIA, Silke Clemens, Vanessa Hardy, Ching Luk, Project Architect, Gwynne Pugh, AIA, Lawrence Scarpa, Katrin Terstegen – Project Design Team
Structural Engineering: Oxford Engineering MEP: Helfman Halloossim
Client: Urban Environments, Inc.
General Contrator: Becker General Contractors – Sandy Becker
Project Area: 6,700 sq. ft.
Photographs: Marvin Rand
Created by Reiser + Umemoto for the Hong Kong & Shenzhen Bi-City Biennale, “Manhattan Memorious” explores what Manhattan could have been. The film visualizes several unrealized projects from Manhattan, including Buckminster Fuller’s dome over Midtown, Rem Koolhaas’ City of the Captive Globe, RUR’s East River Corridor, Paul Rudolph’s Eastside Redevelopment Corridor, Morphosis’ West Side Yard and others.
Jesse Reiser, Principal of Reiser + Umemoto, explains; “Before a city becomes a thing of steel, concrete and glass it is a theater of visions in conflict. As a city ages, the visions do not die but come up against the physical and ideological resistance of the place and its people. The city we see today is the direct result of radical visions, gradually changing the way the future is realized. This is an account of a Manhattan that could have been – might have been. A phantasmagorical Manhattan where the visionary meets the everyday – the absurd and the sublime. The island as we know it is but a pale reflection of a city designed by visionaries – a city of mad, incongruous utopias.”
Influential architecture critic, Paul Goldberger, has announced his move from The New Yorker to Vanity Fair, both Condé Nast publications. During his 15 year run at The New Yorker, Goldberger has eloquently commented upon projects’ affects in the social realm, as well as their theoretical underpinnings from an academic perspective. Goldberger’s highly decorated professional career has been shared between The New Yorker and initially, The New York Times where Goldberger served as the leading architecture critic and was awarded a Pulitzer Prize for Distinguished Criticism in 1984. Goldberger has said his leave from The New Yorker was partly initiated as a way to devote more time to Frank Gehry’s biography; yet, upon Graydon Carter’s persistent requests, Goldberger will become a contributing editor for Vanity Fair. Interestingly, Goldberger’s writings will not strictly be focused upon architectural criticism. “Graydon’s eager to do a broad range of things on design and I’m excited to be doing that. And I’m not being coy, we haven’t figured out exactly what the parameters are yet, but there will certainly be stories that are design-oriented, not strictly architecture ,” Mr. Goldberger told the New York Observer.
Last year, architect and designer Nigel Coates retired as head of architecture at the Royal College of Art after 16 years in the post. Before he officially stepped down, Crane.tv catched up with Coates to talk about what makes for good architecture and what’s the one advice he gives all of his students.
The Devoid Tower, designed by Daniel Caven at the Illinois Institute of Technology, Chicago, and featured in eVolo magazine, explores the passive systems that can be incorporated into high-rise design. Composed of a central volume that is pierced by a…
In 2007 I visited one of the most talked about autism buildings at the time, the Netley Primary School Autistic Unit in London, England. To my surprise, the building did not look or function in the way the publication material had depicted it. The teachers I interviewed said the views from the nearly wall-to-wall, floor-to-ceiling windows were too distracting for the students. Their solution was to cover ¾ of the windows with paper. On top of making the building look somewhat rundown, this solution appeared to hinder the lighting design that originally depended on more daylight. The lesson for future projects seemed obvious; limit views and adjust the lighting accordingly. That is the conclusion I drew, and apparently so did Haverstock Associates, the firm that designed Netley.
After Netley, Haverstock Associates adjusted their approach for the recently finished Kentish Town School Autistic Resource Base. At Kentish Town, Haverstock scaled back the amount of exterior views by employing opaque walls that allow light in but limit views out. There are still a few large views to the outside, and the opaque walls are punctuated every so often with small clear glass windows, mostly above eye-level, but the approach is noticeably different from the one used at Netley (for Kentish Town project images see here). But is the conclusion about limiting views correct? Perhaps, but it might be something else. Maybe what is viewed matters more than how much is viewed.