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Esma-Cinecreatis / Babled Nouvet Reynaud

01:00 - 13 April, 2014
Esma-Cinecreatis / Babled Nouvet Reynaud, © Stéphane Chalmeau
© Stéphane Chalmeau

© Stéphane Chalmeau © Stéphane Chalmeau © Stéphane Chalmeau © Stéphane Chalmeau +16

Young Architects in Africa Announced

00:00 - 13 April, 2014
Young Architects in Africa Announced, Seed, blueprint for libraries in South African Schools (Johannesburg) / Architects of Justice (Kuba GRANICKI, Mike RASSMANN, Alessio LACOVIG)
Seed, blueprint for libraries in South African Schools (Johannesburg) / Architects of Justice (Kuba GRANICKI, Mike RASSMANN, Alessio LACOVIG)

AS.Architecture-Studio has announced the 2014 Young Architects in Africa. The award aims to highlight creative African projects and help a rising generation of young architects achieve worldwide recognition. Selected from nearly 200 projects, these three practices have been named as finalists: Architects of Justice (South Africa), Urko SANCHEZ (Kenya), and Andre CHRISTENSEN & Mieke DROOMER (South Africa). 

The Depreciating Value of Form in the Age of Digital Fabrication

00:00 - 13 April, 2014
The Depreciating Value of Form in the Age of Digital Fabrication, The ICD / ITKE Research Pavilion 2011, demonstrating an example of a Voronoi diagram at work. Image © ICD / ITKE University of Stuttgart
The ICD / ITKE Research Pavilion 2011, demonstrating an example of a Voronoi diagram at work. Image © ICD / ITKE University of Stuttgart

In this article, originally appearing on the Australian Design Review as "Tolerance and Customisation: a Question of Value", Michael Parsons argues that the complex forms made possible by digital fabrication may soon be victims of their own popularity, losing their intrinsic value as they become more common and the skill required to make them decreases.

The idea of tolerance in architecture has become a popular point of discussion due to the recent mainstreaming of digital fabrication. The improvements in digital fabrication methods are allowing for two major advancements: firstly, the idea of reducing the tolerance required in construction to a minimum (and ultimately zero) and secondly, mass customisation as a physical reality. Digital fabrication has made the broad-brushstroke approach to fabrication tolerance obsolete and now allows for unique elements and tolerance specific to each element. The accuracy that digital fabrication affords the designer, allows for the creation of more complex forms with greater ease and control. So far, this has had great and far reaching implications for design.

Read on to find out how this ease of form-making could diminish the success of complex forms. 

Green House / Carterwilliamson architects

01:00 - 13 April, 2014
Green House  / Carterwilliamson architects, Courtesy of Carterwilliamson architects
Courtesy of Carterwilliamson architects

Courtesy of Carterwilliamson architects Courtesy of Carterwilliamson architects Courtesy of Carterwilliamson architects Courtesy of Carterwilliamson architects +14

  • Architects

  • Location

    Rozelle NSW, Australia
  • Design Team

    Shaun Carter, Lisa Merkesteyn, Kellie Beatty
  • Project Year

    2013
  • Photographs

    Courtesy of Carterwilliamson architects

Guy Horton on Zaha Hadid & the Architect's Ethical Responsibility

00:00 - 13 April, 2014
Guy Horton on Zaha Hadid & the Architect's Ethical Responsibility , Courtesy of ZHA
Courtesy of ZHA

In this episode of KCRW's Design & Architecture (DnA) podcast, ArchDaily contributor Guy Horton speaks with Frances Anderson about the architect's ethical responsibility to protect construction workers' rights, following up on his popular article "Will We Stay Silent? The Human Cost of Qatar's World Cup." The episode also features a fascinating look into Shigeru Ban's career and Pritzker win as well as the Folk-Moma controversy. Listen here.

The P House / Studio MK27 - Marcio Kogan + Lair Reis

01:00 - 13 April, 2014
The P House / Studio MK27 - Marcio Kogan + Lair Reis, ©  Fernando Guerra | FG+SG
© Fernando Guerra | FG+SG

©  Fernando Guerra | FG+SG ©  Fernando Guerra | FG+SG ©  Fernando Guerra | FG+SG ©  Fernando Guerra | FG+SG +33

ARUP Downtown Los Angeles / ZAGO Architecture

01:00 - 13 April, 2014
ARUP Downtown Los Angeles / ZAGO Architecture, © Joshua White
© Joshua White

© Joshua White © Joshua White © Joshua White © Joshua White +12

  • Architects

  • Location

    811 Wilshire Boulevard, Los Angeles, CA 90017, United States
  • Project Team

    Andrew Zago, Laura Bouwman, Dale Strong
  • Area

    2500.0 ft2
  • Project Year

    2014
  • Photographs

The Air from Other Planets, A Brief History of Architecture

01:00 - 13 April, 2014
The Air from Other Planets, A Brief History of Architecture, Courtesy of Lars Müller Publishers
Courtesy of Lars Müller Publishers

The following is an excerpt from Sean Lally's The Air from Other Planets, A Brief History of Architecture to Come. The book introduces the reader to an architecture produced by designing the energy within our environment (electromagnetic, thermodynamic, acoustic, and chemical)-- an architecture that exchanges walls and shells for a range of material energies that develop its own shapes, aesthetics, organizational systems, and social experiences. Energy becomes its own enterprise for design innovation; it becomes the architecture itself.

One of architecture’s primary acts is to define the spatial boundaries that organize and hold specified activities within them. The behavioral properties of the materials used to make that boundary not only influence the physical characteristics of that space (maximum height, span, aperture sizes), but also determine how the human body perceives and senses those boundary changes (opacity, transparency, acoustics), which then informs the behaviors and movements of the individuals using the space.  This definition of boundaries is one that architects have continually tested and subverted as new materials, construction methods, and social trends have emerged over the centuries.  It follows that if energy could be controlled and deployed as physical boundaries that define and organize spaces that the human body can detect and recognize, wouldn’t that be architecture? These new building materials would only need to demonstrate that they could absorb the “responsibilities” of boundaries—able to determine spatial hierarchies, provide security, hold aesthetic value, etc.—for them to be called architecture. Current trends just on the periphery of the discipline that could make this a possibility only need to be integrated through the lens of the architect to see their potential.

Competition Entry: Romanian Pavilion (Milan Expo 2015) / Collective East Architects

01:00 - 13 April, 2014
Competition Entry: Romanian Pavilion (Milan Expo 2015) / Collective East Architects, © Collective East Architects
© Collective East Architects

Placing sixth in the competition to design the Romanian Pavilion for the 2015 Milan Expo, Collective East Architects offered a “simple and powerful landmark” that focuses on the history of Romania’s agriculture. Serving as an “attractor and orientation mark,” the structure was conceived by repeating a traditional Romanian pattern that “transformed the pavilion into a sculptural object with a powerful national identify.” From a distance, the facade appears “introverted and impenetrable;” as viewers move closer, the building begins to expose its contents, revealing a level of detail one would expect in a “jewelry museum.”  

UDG China Breaks Ground on Wuxi Kindergarten

01:00 - 13 April, 2014
Courtesy of UDG China
Courtesy of UDG China

The United Design Group (UDG) China has begun construction the “Xieli Garden” resettlement community kindergarten in Wuxi. The three-story building, designed as a “spiraling elliptical ring,” aims to create an ideal learning environment for children with ample natural light and a direct connection to outdoor space. 

Bessancourt Hall / ARCHICLUB

01:00 - 13 April, 2014
Bessancourt Hall / ARCHICLUB, © 11h45 montrer l'architecture
© 11h45 montrer l'architecture

© 11h45 montrer l'architecture © 11h45 montrer l'architecture © 11h45 montrer l'architecture © 11h45 montrer l'architecture +25

  • Architects

  • Location

    Rue de l'Église, 95550 Bessancourt, France
  • Architect in Charge

    Fabien Duchene architects
  • Area

    580.0 sqm
  • Project Year

    2013
  • Photographs

Electric Ramps At The Old Centre / Roberto Ercilla + Miguel Angel Campo

01:00 - 13 April, 2014
Electric Ramps At The Old Centre / Roberto Ercilla + Miguel Angel Campo, © César Martín
© César Martín

© César Martín © César Martín © César Martín © César Martín +27

Switch Residence / APOLLO Architects & Associates

01:00 - 12 April, 2014
Switch Residence / APOLLO Architects & Associates, © Masao Nishikawa
© Masao Nishikawa

© Masao Nishikawa © Masao Nishikawa © Masao Nishikawa © Masao Nishikawa +16

School Complex Buffon / TANK

01:00 - 12 April, 2014
School Complex Buffon / TANK, Courtesy of TANK
Courtesy of TANK

Courtesy of TANK Courtesy of TANK Courtesy of TANK Courtesy of TANK +12

  • Architects

  • Location

    Roubaix, France
  • Architect in Charge

    Olivier Camus, Lydéric Veauvy
  • Collaborating Architect

    Franck Landrot
  • Area

    4160.0 sqm
  • Project Year

    2011
  • Photographs

    Courtesy of TANK

KTA Details Australia’s Largest Urban Renewal Project

01:00 - 12 April, 2014
KTA Details Australia’s Largest Urban Renewal Project, © Koichi Takada Architects
© Koichi Takada Architects

Koichi Takada Architects (KTA) has released details on Australia’s biggest urban renewal project: Green Square. Shaped by the pedestrian and traffic flows that surround the building, the mixed-use, multi-residential complex is expected to serve as the gateway of Sydney’s Green Square Town Centre by its completion in 2016.

Norman Foster Wins Planning for Manchester Maggie’s Centre

00:00 - 12 April, 2014
Norman Foster Wins Planning for Manchester Maggie’s Centre, © Foster + Partners
© Foster + Partners

UPDATE: Foster + Partners have been granted planning permission for The Chirstie. The new Centre is due to open in 2016.

Norman Foster has applied for planning permission for a new Maggie’s Cancer Centre in his hometown of Manchester. Planned to be built at The Christie, one of Europe’s leading cancer centres and the largest single-site centre in Europe, the new Centre intends to “provide free practical, emotional and social support for anyone living with cancer as well as their family and friends.”

“I believe in the power of architecture to lift the spirits and help in the process of therapy,” Foster explains. “Within the Centre, there is a variety of spaces – visitors can gather around a big kitchen table, find a peaceful place to think or they can work with their hands in the greenhouse. Throughout, there is a focus on natural light and contact with the gardens. The timber frame, with its planted lattice helps to dissolve the architecture into the surrounding greenery.”

Daniel Libeskind on Italy, Design, & the State of Architecture Today

01:00 - 12 April, 2014
Rendering of the CHAU 43 residential project in Berlin, whose facade will be clad in Libeskind's titanium ceramic porcelain tile.. Image Courtesy of Studio Daniel Libeskind
Rendering of the CHAU 43 residential project in Berlin, whose facade will be clad in Libeskind's titanium ceramic porcelain tile.. Image Courtesy of Studio Daniel Libeskind

In this interview with Daniel Libeskind, originally featured on Metropolis as Q&A: Daniel Libeskind on Italy, Product Design, and the State of Architecture Today, Paul Clemence talks to Libeskind about his perspective on Italian culture, its influence on his career, and his most recent foray into product design.

When you talk to Daniel Libeskind, no single question has a simple answer. From his days as a young musical prodigy (he played the accordion) to his directorship at Cranbrook Academy, not to mention his voracious passion for literature, the fascinating episodes of his life all come together, informing his approach to design and architecture. His career path is an unusual one. And while that is true for many architects, his is particularly interesting, where each twist and turn, no matter how ostensibly disconnected, seem to have always prepared him for his next step. Take his two highest profile jobs, the Jewish Museum in Berlin and the master plan for Ground Zero. The two are intrinsically linked—the museum’s official opening to the public in 2001 was originally scheduled on September 11. The project had taken 13 years of political maneuvering to realize. Similarly, Libeskind's World Trade Center site master plan was marred by a decade of delays and alterations, which threatened to blot out his original design intentions. One monumental task after the other, eerily similar in challenging circumstances, both offering the architect a rare opportunity to helm projects richly entrenched in emotion, symbolism, and historical significance.

Now as his career moves beyond these two important projects, the architect's connection to Italy is beginning to play a pivotal role in his work. He moved there after his time at Cranbrook, when he was looking for new career challenges. Libeskind has been back in America since he was commissioned the Ground Zero project, but he recently opened up a studio in Milan, where he, his wife, and son oversee the firm's forays in product design.

I caught up with Libeskind at his Lower Manhattan office overlooking Ground Zero to talk about Italy and his involvement in upcoming design fairs there, Milan Design Week and the Venice Architecture Biennale.

VIDEO: London From the Top of The Barbican, A Brutalist Icon

00:00 - 12 April, 2014

Recently voted the UK’s ugliest tower, The Barbican Tower is one of the three residential towers of the Barbican Estate, built between 1965 and 1976 in London. Along with fourteen apartment blocks, the Barbican Estate contains 2014 flats, connected by a labyrinth of floating passageways and landscaped gardens.