Architects: MDU Architetti
Location: Montalto Province of Viterbo, Italy
Design Team: Alessandro Corradini, Valerio Barberis, Marcello Marchesini, Cristiano Cosi
Collaborators: Nicola Becagli, Michele Fiesoli
Structural Engineers: ACS ingegneri
Mechanical And Electrical Engineer: Federico Boragine
Site Area: 10,888 sqm
Photographs: Pietro Savorelli, Lorenzo Boddi
Architects: VORA Arquitectura
Location: Ibiza, Illes Balears, Spain
Design Team: Pere Buil, Toni Riba
Collaborators: Eva Cotman, Ondrej Fabian, Rui Santos
Structure: Bernuz-Fernàndez Arquitectes
Installations: Quadrifoli Gestió Integral De Projectes
Area: 3,170 sqm
Photographs: Adrià Goula
Location: Prinses Irenestraat, Amsterdam, The Netherlands
Design Team: Richelle de Jong, Chris de Weijer & Robert Alewijnse, Ines van Binsbergen, Harrie Hupperts, Allard de Goeij, Ron van Logchem, Rik den Heijer, Diana de Kroo, Tim Castelijn, Bjorn Bleumink, Jimmy van der Aa, Sarina Gomez
Contractors: J.P. van Eesteren
Client: Stichting V.O. Amsterdam-Zuid
Area: 12,000 sqm
Photographs: Jeroen Musch
The Governor General of Canada, David Johnston, has bestowed Officer of the Order of Canada – one of Canada’s highest honors – to Toronto architect Marianne McKenna of Kuwabara Payne McKenna Blumberg Architects. Similar to the Order of the British Empire in Britain and the Kennedy Center Honors for artists in the United States, the award recognizes Canadians for a lifetime of outstanding achievement, dedication to the community and service to the nation.
Office of the Secretary to the Governor General stated:
Massimiliano and Doriana Fuksas has been announced as winner of an international competition to design and construct the first cultural center in Chengdu, China. In their winning proposal, Fuksas combined four, elliptical shaped buildings with a spiral structure to create an inclusive artist complex that offers a center for the performing arts, a cultural center, offices Writer and Literary Association, and an apartment building for artists.
Learn more about the Chengdu Tianfu Cultural and Performance Center after the break.
Gary Card is an illustrator, set designer and prop-maker. His bright and broad aesthetic has lent itself to a wide range of high profile brands including Topshop, Comme des Garcons, Adidas, COS and Nike. For the festive season, Card designed an electric christmas tree, inspired by the Vauxhall Ampera, installed at King’s Cross filling station until January. While we get a glimpse of his studio, viewing a multitude of diverse past projects, Card debates the pros and cons of his work and delves into the origin of his odd affinity for the colour purple.
Luca Peralta Studio… shared with us their design concept for the Helsinki Central Library competition. Their ‘three cubes on a leaf’ concept is designed with the intent of creating an animated light in the distance. As a result, their project
In 1945, the United States dropped 2 nuclear bombs on Hiroshima and Nagasaki. While the act devastated and destroyed these two Japanese towns, it also created an entirely new political climate, one based on apocalyptic fears. As tensions with Soviet Russia heightened, and the United States entered an age of potential nuclear destruction, the landscape itself adapted in response – becoming littered with bunkers and fallout shelters, the “concrete responses to the political social and existential anxieties of the atomic age.”
Fast-forward nearly seventy years, and we’re currently faced with a new apocalyptic scenario of our own. Assuming you’re reading this, we have all survived the Mayan Apocalypse. Congratulations. However, that’s not to say that out apocalyptic fears, and its resultant architecture, have come and gone. Our apocalypse is more based on the fear of natural disaster – hurricane, tornado, viral disease, even infected-zombie-people – than nuclear attack, and our apocalyptic architecture is less of the bunker variety, and more of the vertical farm/fortress kind. Let’s call it ESD: Extremely Sustainable Design.
More on apocalyptic architecture of the 21st century, after the break…
Every three months, the publication CLOG takes on “a single subject particularly relevant to architecture now.” It’s not a quick look at something trendy, but rather an in-depth look at the issues that are affecting – and will continue to affect – architecture as we know it today.
CLOG: Rendering is, in my opinion, the best issue yet. Through dozens of fascinating, concise articles and a handful of illustrative, quirky images, it takes on an enormous question often over-looked in the architectural world: what is a rendering? An alluring device to win over a jury or public? A realistic depiction? Or perhaps it’s an entity unto itself…
Rendering examines how the rendering has become a means of deception – not just for the public, but for ourselves – becoming an aesthetic end-product rather than the representation of an idea in-progress. But at the same time, the rendering is our best tool for entering into the “real” world, for communicating what we do to the public at large.
Is there a way to marry these opposing characteristics? What should the future of rendering be? CLOG takes these questions head-on. More after the break…
NEX recently won the Cadogan Café design competition, organized by Malcolm Reading Consultants. The £2 million project for a new café, which will sit near the entrance to the Saatchi Gallery in Duke of York Square in Chelsea, is an organic coiled form. Their design features a roof terrace and incorporates an ingenious glass wall that rises and falls depending on the weather. More images and architects’ description after the break.
Designed by Tomas Ghisellini Architetto…, the proposal for the new “Malga Fosse” refuge, which won an honorable mention, chooses the language of the rough and simple local construction scattered among the mountains. In doing so, their design builds up