Location: Saint-Nazaire, France
Design Team: Karine Herman, Jérôme Sigwalt, Olivier Jonchère, Alexandre Plantady
Consultants: Changement à Vue (stage design), Altia (acoustics), Alto (fluids), Khephren (structure), Bougon (economist)
Budget: 16.4 M€ of works, including tax
Area: 3,900 sqm
Photographs: Luc Boegly, Patrick Miara
This week’s film isn’t actually a movie in itself, but rather a lot of little films merged into one: “Paris, I Love You”. Twenty shorts, each representing the 20 arrondissements – districts – of Paris were filmed to show the French capital in its multiple identities (in the end, only eighteen made the cut). The work is an interesting attempt to use film to represent the many facets of a metropolitan urban area; it is also an exploration of the different ways we can see a city, depending on our perceptions and experiences within it.
Have you ever walked through Parisian streets? Does “Paris I Love You” capture your experiences of Paris’ districts? Let us know in the comments below.
Located in Nikola Lenivets Park in Kaluga, Russia, this proposal for the Artist Residence, which was shortlisted in the design competition, suggests the typology of a campus, a condensed layout providing the facilities for all of the artist residence community–…
Yesterday’s article “Forget the Rankings, the Best US Architecture Schools Are…” argued that students should judge architecture schools for their strength in areas that are relevant to the profession today (not for their rankings). Today, we bring you an Editorial from Architecture Professor at the University of Melbourne, Stanislav Roudavski, who takes that argument one step further – suggesting that architecture students should look for education opportunities that embrace the architectural world of the future.
Those who look to the future understand architecture as a dynamic system of relationships. These relationships blur the distinctions between digital and physical, natural and artificial, simulated and observable in the wild. Such an interpretation calls for broader collaborations and a commitment to explorations outside established “comfort zones.” But the life outside disciplinary comforts can be harsh. With old certainties left behind and new potentials not yet discovered, one can feel overwhelmed by the richness and complexity of available information and practices. In the contemporary condition of constant and accelerating change, what should an architect know and be able to do? From where should this knowledge be acquired and updated, from whom and in which way?
Innovation (and the learning of the new, needed for innovation to occur) can be encouraged through various strategies. [...] Innovation can also be augmented outside existing professional territories via other types of critical, open-ended learning that is deliberately oriented towards uncertain futures. In striving to address unknown demands, such learning is necessarily speculative and risky. What strategies can be adopted to benefit from such risk-taking?
More on the future of Architectural Education, after the break…
If there is one characteristic that defines “architecture” it is innovation. And if by innovative, you think responsive, then Domus Academy certainly qualifies. It was started by Maria Grazia Mazzocchi, daughter of Domus Magazine founder, Gianni Mazzocchi after people kept writing letters asking her to start a design school. And in 1983, she did just that.
For the basics, the school is very clear. Your accreditation comes from an affiliation with the University of Wales, in Cardiff, UK, which is awarded upon completing 180 Master’s level credits. And you also receive a Diploma Supplement from them which proves that you have a degree that is equivalent to major universities across the globe. And it’s sited in Milan, which if one is interested in Italian design, is an ideal locale. It’s a one year program, so it doesn’t require the extensive 2- and 3-year commitments that many programs across the world demand. It will cost a similar amount, however, at €23,790 Euro. But the best aspect of that admittedly large tuition fee is that it is for a single year—11 months to be exact. That means one can immediately begin searching for a job to pay off what is, after all is said and done, a relatively small student loan compared to average ones that are three times that size. There are also unrestricted scholarships available that defray costs from between 20%-50%. And in case you’re wondering, classes are taught in English.
Continue reading after the break
For the exhibition, “FLUXUS – Art for Everyone!” at Museum Ostwall in the Dortmunder U, modulorbeat… was commissioned to develop an exhibition architecture. Their ‘Fluxus Module’ project uses 300 items from the years 1958 to 2007 that critically address the
Recognizing one exceptional artist every two years whose work transverses the boundaries between art and architecture, Andrea Zittel… came out as this year’s winner for the prestigious Frederick Kiesler Prize. Accepting the award just this month at the New Museum
Designed by J. Mayer H. Architects…, the new, modern college seminar building for FOM Hochschule für Oekonomie & Management University of Applied Sciences gGmbH will include approximately 1,400 student seats, office units, underground parking and a spacious, green campus.
Architects: Alireza Mashhadmirza
Location: Tehran, Iran
Photographs: Courtesy of Alireza Mashhadmirza
As an update to the article we posted several months ago regarding the disputed ‘hot spot’ in Dallas between Renzo Piano‘s Nasher Sculpture Center and the adjacent residential tower, the controversy is still a hot issue. The reflection caused by the sculpture center is still something they have not been able to solve. Any solution will be costly and difficult. The Nasher people have recommended louvers covering the tower’s south face. The tower people say that this will require a computer-generated engine for every window, about two years to study, even more time to install. And it may not work. More information after the break.