This year’s Venice Architecture Biennale focuses on the fundamentals of architecture, and the theme of "absorbing modernity." Official exhibitions will highlight the basics of modern building, but one exhibition (unaffiliated with the official biennale) will take a unique approach to the term. Architects Alison Killing and Ania Molenda will devote their installation to the most fundamental quality of all: death.
Titled Death in Venice, this presentation will focus on how architecture has facilitated the act of dying during the past 100 years. All of the funding for the exhibition materials has been provided by the Fund for Creative Industries NL, but to transport the show to Venice, Killing and Molenda have started a Kickstarter campaign.
In this four-part, stop-motion series, Mayeul Akpovi presents a new perspective on the City of Lights. Filmed with manual camera movements and composed of more than 30,000 photographs, the videos enable a unique, otherwise-unattainable experience of Paris’ sleepless urban spaces by ceaselessly attenuating the passage of time.
Watch part one (above), and continue after the break for the remaining series...
Tammo Prinz's competition entry for a new residential tower in Lima, Peru, proposes the use of platonian bodies to generate dramatic interior and exterior spaces.
The concrete dodekaeder structure drives the form of the design whilst smaller cubic shapes are strategically placed within this to generate spaces for everyday living. The relationship between these two spatial qualities, of interior and exterior, reveals a series of unique spaces that can be used as an extension of the interior, or as a balcony-like outdoors area.
Maggie's Centres are the legacy of Margaret Keswick Jencks, a terminally ill woman who had the notion that cancer treatment environments and their results could be drastically improved through good design. Her vision was realized and continues to be realized today by numerous architects, including Frank Gehry, Zaha Hadid, and Snøhetta - just to name a few. Originally appearing in Metropolis Magazine as “Living with Cancer,” this article by Samuel Medina features images of Maggie's Centres around the world, taking a closer look at the organization's roots and its continued success through the aid of architects.
It was May 1993, and writer and designer Margaret Keswick Jencks sat in a windowless corridor of a small Scottish hospital, dreading what would come next. The prognosis was bad—her cancer had returned—but the waiting, and the waiting room, were draining. Over the next two years until her death, she returned several times for chemo drips. In such neglected, thoughtless spaces, she wrote, patients like herself were left to “wilt” under the desiccating glare of fluorescent lights.
Wouldn’t it be better to have a private, light-filled space in which to await the results of the next bout of tests, or from which to contemplate, in silence, the findings? If architecture could demoralize patients—could “contribute to extreme and mental enervation,” as Keswick Jencks observed—could it not also prove restorative?
The West Australian government has confirmed, HASSELL, COX Architecture and HKSwill collaborate to design Australia’s largest ever stadium project. The $900million project will see Perth’s Burswood Peninsula transformed into a world-class sporting precinct by 2018. Included in the master plan is a new stadium that will hold some 60,000 spectators, a public tennis facility, significant transport infrastructure upgrades, such as a new train and bus station, and large public parklands. As negotiations continue between the firms and the West Australian Government, we should expect to see detailed drawings of the scheme by at least July with construction expected to begin by the end of this year.
Paraguay means “water that flows toward the sea” in the language of the country’s indigenous Guarani people. It is no surprise, then, that Paraguay’s entry for the 2014 Venice Biennale uses water as the primary structural member. Titled “Aqua Alta,” the Paraguayan pavilion responds to the Biennale’s focus on modern fundamentals by stating that modern architecture must achieve more with less.
Grimshaw Architects' dual focus on industrial and architectural design will be celebrated this month in a featured exhibit at Milan Furniture Fair. In this article, originally published by Metropolis under the title "Down to the Details," author Ken Shulman presents the firm's evolution in the context of the exhibit, touching on the projects being presented and more intriguingly — on how they are being presented.
Shortly after he joined Grimshaw Architects, Andrew Whalley was tasked with putting together an exhibition at the Royal Institute of British Architects (RIBA) in London. Titled Product + Process, the 1988 show was decidedly counter-current—a parade of pragmatic, largely industrial structures Grimshaw realized in the UK in the face of surging postmodern fervor. Featured projects included the transparent building the then 15-person firm designed to house the Financial Times’ London printing facilities, and a flexible, easily reconfigurable factory Grimshaw built for Herman Miller in Bath. But it wasn’t the selection of projects that caught the public eye. “We asked our clients to take apart pieces of their buildings, and then rebuild them for the exhibition,” says Whalley, now deputy chairman of Grimshaw. “This wasn’t a typical show of architectural drawings and models.”
British based FaulknerBrowns Architects have proposed plans for "one of only two velodromes in recent memory being planned" in the city of Edmonton, Canada. In a place where winters are cold and long, reaching -20 degrees celcius, the facility can be adapted for both indoor and outdoor use throughout the year. Clad in Canadian timber and polished stainless steel shingles wrapping around the building like a "twisted ribbon resembling the twisted sinuous cycle track," the scheme will be only the second major indoor cycle track facility in the country.
The Architectural League Prize, one of North America’s most prestigious awards for young architects and designers, has been awarded to six emerging practitioners. Each recipient, whose work was deemed to be “exemplary and provocative” by the jury, presented their portfolios under the theme of “Overlay,” as the term “directs - rather than merely reconstructs - process.” This theme will now set the stage for a public forum in which each winner will use to exchange ideas.
This year ARCH MOSCOW is held within the 4thMoscow Biennale Architecture. The Biennale fully reflects the latest architectural trends and promotes technical innovations, stylistic researches and experimentation in the field of design ideas. The best examples of domestic and foreign architectural achievements are displayed and the principles of development of the quality architectural environment are professionally discussed. Traditionally, ARCH MOSCOW is the best platform for establishing business contacts in the field of architecture, development and construction.
Historically, large city-changing projects have depended on the personal interests of a powerful individual: someone able to swim across both political and financial waters. But recently, projects like the High Line have shown the power and potential of projects envisioned and led by local communities.
Back in 2011 we visted our friends at CASE in their West Village office and they introduced us to a small firm across the hall: Family. While the team was working hard on a model in the middle of their large table, partner Dong-Ping Wong showed us some of their recent projects. One of them immediately caught our attention. A floating pool for Manhattan. In the form of a cross, it would sit in the East River, filtering its waters into four pools. This amazing -- and seemingly crazy -- idea was tantalizing.
Allan Crow may be, as he humbly puts it, just one of "two blokes that take photos." But Hufton+Crow, the photography studio founded by him and Nick Hufton ten years ago, has reached far more than humble success. The duo have shot some of the most talked-about architectural works of the last few years -from Zaha Hadid's Galaxy Soho to Steven Holl's Sliced Porosity Block to BIG's Danish Maritime Museum - and have been published in renowned websites and magazines around the world. Learn more about how Crow began his career as well as his favorite architecture, after the break.