Barcelona-based architect and scholar Alejandro Zaera-Polo has been selected as the next dean of Princeton University’s School of Architecture, where he has served as a visiting lecture since 2008. He is internationally known for his award-winning practice, Alejandro Zaera-Polo Architecture, his extensive academic experience and contributions to international publications, such as El Croquis, Quaderns, A+U, Arch+, Volume and Log.
He will succeed Brooklyn-based architect Stan Allen, who has served as the school’s dean since 2002. After the new appointment becomes effective on July 1, 2012, Allen plans to return to full-time teaching and architectural design after a yearlong sabbatical. As reported by Architectural Record, Allen stated, “We were looking for somebody who worked at a very high level as a designer-practitioner, but also approached architecture as an intellectual activity. There aren’t a lot of people like that out there.”
Architects: Kjellgren Kaminsky Architecture
Location: Kungälv, Sweden
Size: 1,100 sqm.
Team: Fredrik Kjellgren, Johan Brandström, Yvonne Lohmann, Joakim Kaminsky, Pamela Paredes, Jochim Haag, Alexandra Agapie, Margherita Castellani, Josefina Högberg
Photographs: Kalle Sanner
Here at ArchDaily, we are desperate to get our hands on the newly launched, second edition of The Modern Architecture Game. In 1999, NEXT Architects created the board game as the first project collaboration involving their four partners. Now, this revised version includes questions that “range across the breadth of modern world history”, allowing a broad and international group of architecture enthusiasts to test their knowledge of the greatest architects, their famous buildings and legendary quotes.
You can purchase it online here.
Its time to plan an office game night, I call the Koolhaas’ CCTV Headquarters!
The project for the Macro inter-modal Terminal in the middle of Rio de Janeiro by Lucas Ramos, Priscila Bellas, and Thiago De Almeida… seeks to create a new infrastructure to the city, which will create possibilities to transform an important
It’s June 1966. Mies’ iconic Seagram Building dominates New York City. Bob Dylan has just released Blonde on Blonde. The Vietnam War is escalating. John Lennon has yet to meet Yoko Ono. Martin Luther King, Jr. has yet to be assassinated. And Don Draper is readjusting to married life – with his 25 year-old secretary.
The excitement over Mad Men, while always eager, was positively explosive last Sunday. The season 5 premiere resulted in the show’s highest ratings to date (3.5 million viewers, up 21% from last year). While the show has always received critical acclaim, now, for whatever reason, it has reached a fever-pitch of popularity.
On a purely aesthetic level, it’s easy to explain. The show draws in audiences with a meticulous, sumptuous set design that allows a nostalgic journey back in time: when design was innovative & clean, architecture was confident (cocky even), and modernism still held its promise.
But on another level, the show is successful because of its inevitability. The very knowledge of the ephemerality of that confidence, a theme particularly relevant to audiences in the wake of the Recession, is what strikes a chord, what makes the show positively hypnotizing.
Watching Mad Men is like watching a Modernist car crash. A beautiful demise.
More on the Modernist Landscape of Mad Men and why the show has struck a chord with audiences today after the break.
In the middle of March, we attended a community meeting for the third installment of the High Line and shared James Corner and DS + R’s visions for the final stretch of the elevated rail line. While the meeting offered an in depth look as to how it would tie together the previously featured conceptual elements, perhaps the already daring project needs a little more spice…perhaps, the High Line needs Jeff Koons. The American artist has been in contact with the founders of the Friends of the High Line (the nonprofit which saved the railway from being demolished) as it is possible the public park could be outfitted with his lastest sculpture, Train, a massive replica of a 1943 Baldwin 2900 steam locomotive. Oh, and did we mention that the train would be danging dramatically in the air, suspended from a crane?
More about Train after the break.
EME3… is currently seeking projects for their 7th edition of eme3 Festival that will be held in Barcelona from June 28th to July 1st 2012 in COAC (Official Catalan Chamber of Architects) while the exposition will remain open until July
Location: Nijmegen, the Netherlands
Area: 2,300 sqm
Client: Ballast Nedam Bouw Midden Arnhem, ICE ontwikkeling Nijmegen, Congregatie van het Heilig Sacrament Nijmegen
Project Team: Bert Dirrix, Marco Vlemmix, Nanda Peeters, Tom Kuipers, Coen de Swart, Wendy Matthijssen, Andre Wijnhoven
Photographs: Arthur Bagen
The project of the New York City Theatre, designed by David Vecchi & Emanuela Ortolani, stems from the intent to promote the independent play and recover the pioneer spirit that distinguished Broadway at the beginning. Exhibited in the ESA gallery as part of the Selon du Dessin in Paris, The proposal is for a mixed-use building that, in addition to the main function of theater, welcome inside offices and residences. More images and architects’ description after the break.
Architects: José Adriao Architects
Location: Rua Dos Fanqueiros, 73-85, Lisboa, Portugal
Gross Floor Area: 1 391,70 sqm
Design Team: Tiago Mota, Luis Valente, Rui Didier, Carla Gonçalves, João Albuquerque Matos, Margarida Lameiro, Ricardo Aboim Inglez, Rute Ribeiro, Sara Jardim
Photographs: FG+SG – Fernando Guerra, Sergio Guerra
Placed in the southern part of the project area in continuity with the ancient church, the proposal for the New Church of Våler by Francesco Fiotti… architects attempts to recover not only the orientation of it, but also the memory.
Photo note: The artist, Alfredo Jaar, in a 2006 interview, regarded Terragni’s Casa del Fascio as the “perfect memorial to Gramsci.” Jaar used the building’s blank right facade (originally left uninterrupted for propaganda) as a canvas for projecting a sequence of images about Gramsci. As Jaar noted: “Here, the fascist building is transformed into Gramsci’s grave. My trip is thus complete, the circle closed, and Gramsci’s indomitable faith in humanism and the hegemony of intellect is still alive. People were, I think, touched and empowered by my concept of transformation of the former headquarters of Fascism in Como into a commemoration and celebration of Gramsci. It was hopefully a true manifestation of everlasting resistance to tyranny and death.”
The Indicator is back!
In reading Gramsci’s Prison Notebooks I am struck by his lack of irony and pretense. It is not a resistance to humor per se. It is a restraint. A will to power that puts everything in the urgent light of sincerity.
Thus, stylistically, it reads as somehow awkward and formal in our post-post times. It has me thinking about how we write about architecture…how we write architecture.
True. He was writing from prison. But it’s more than that. He was writing what he believed. There is no escape valve of irony in his text. He was, and is when you read him now, in your face, holding you and daring you to veer away. What he is writing is not to be taken with a wink. He commands humor in his language but the humor drives a sustained sincerity, a concern for humanity—including his own humanity.
German architect Johann Bierkandt has shared with us his second-place winning proposal in the Classic Siftung Weimar international competition for the New Bauhaus Museum. His concept was praised by the jury for its clever integration into Weimarhallenpark through a series of small-scale pavilions that differentiates the museum from the surrounding context. Bierkandt‘s proposal is one of the final four designs still competing in the two-stage competition. The jury is expected to announce the winning design this summer. More images and architects’ description after the break.