Curated by Toshiko Mori. All architecture must inevitably contend with history and gravity. These two forces are both fundamental and universal; to confront them is accordingly not only to take the crucial step in any attempt to reinvent the contemporary language of architect but to connect to a vast lineage of historical precedents, creating a platform for developing the discipline’s future as well as reflecting on its past. In Toshiko Mori’s case a series of dialogues with five American masters transpired from projects that required her to work next to, in addition to, or in reference to their creations.
Through these projects they discovered that close studies at the level of the detail create moments of complex interchange, both literal and historical, disciplinary and existential. The details presented here are wall sections, the interface between interior and exterior. This minimal one has always been contested: the twentieth century strove for a transparent boundary that could expose interior through psychoanalysis, while the twenty-first century attempts to erase that boundary through virtual space. And so these five pairs of “totems” express common technical and tectonic concerns even as they mark the historical transition of architecture from the pas, through the present, into the future.
The exhibit consists of 10 detailed sections of major architects such as: Frank Lloyd wright, Mies van der Rohe, Philip Johnson, Marcel Breuer, and Paul Rudolph.
More photos after the break.
We jump back to the end of 1940′s to remember the film based on Ayn Rand’s acclaimed book, The Fountainhead. The movie talks about the architectural debate between the industrialisation of the profession and the individual creation. An issue that we can consider still questionable nowadays.
I guess most of our readers have seen this classic or have read the book instead. Let us know your thoughts about the “creation” concept in architecture.
Although our digital age allows us to peruse the latest in fashion, furniture and leisure all digitally, sometimes, there’s nothing quite like mindlessly flipping through the pages of a catalogue. Yet, the digital world is quickly penetrating even the tangible pages of furniture magazines, such as IKEA’s latest 200+ million print copies which are replacing labor intensive sets with digital renditions of furniture layouts and color combinations.
As architects who are constantly bombarded with renderings and spend hours perfecting that chosen perspective, can we spot what’s real and what’s not in the catalgoue pages below? Does that glossy kitchen countertop or fluffy blue couch really exist? Or, did IKEA’s digital modelers work their magic and fool us with the renderings – a move that saves IKEA money and still maintains the desired effect.
More after the break.
For over a century, the Venice Biennale (La Biennale di Venezia) has been one of the most prestigious cultural institutions in the world. The avant-garde institution has remained at the forefront in the research and promotion of new artistic trends, while leading international events in the field of contemporary arts that are amongst the most important of their kind. Over the past thirty years, the Biennale has given growing importance to the Architecture Exhibition, which is still a young component of the Biennale considering that its first exhibition was held in 1975. Today, the Venice Biennale captures a multitude of interest from around the globe and attracts over 370,000 international visitors.
Before the festivities of the 13th Venice Architecture Biennale begin tomorrow, read up on the origin of this highly acclaimed international exhibition.
A timeline history of the Venice Architecture Biennale:
Taking place September 4-15, the AA Muscat Visiting School, held by Kamvari Architects, will generate new architectural and urban solutions based on an investigation of patterns – which are seen as a means to translate the performance or appearance of…
The Koloro Exhibition by Torafu Architects features their complete range of ‘koloro-desk / koloro-stool’, including versions which they collaborated with Mina Perhonen. Shown in CLASKA Gallery and Shop “DO” in Tokyo, the name ‘koloro’ is an Esperanto word, meaning color, many colors are used at the exhibition. They also display many colorful “airvase” throughout the space, including a new version where we collaborated with photographer Mikiya Takimoto, and a special version of“airvase”, which is enough large to cover your whole body, floating up and down with the help of a motor. More images and architects’ description after the break.
Natural History Museum Proposal / Kengo Kuma & Associates + Erik Møller Arkitekter + JAJA Architects
The proposal for the Natural History Museum of Denmark, designed by Kengo Kuma & Associates, Erik Møller Arkitekter, and JAJA Architects, focuses on creating a coherent and inseparable experience which mixes the experiences of the conventional museum and the classical garden into a series of remarkable spaces. Its location within the beautiful and historical setting of the city’s botanical garden creates a potential for a museum that is more authentic, more engaging and more open for everyone. More images and architects’ description after the break.
Dealing with existing infrastructure has become the most important task facing German architects today. The greatest, most problematic challenge that lies ahead is the downsizing and conversion of postwar buildings, erected from 1950s to the 1970s, which are described as “too unsuitable, too slipshod, too inefficient to serve as housing in the future”. A complete reevaluation of not only of the structures themselves but also the social and historical implications of their unbuilt energy and resources is necessary in order to improve the urban fabric and achieve climatic goals.
In response, the German contribution to the 13th Venice Architecture Biennale, Reduce/Reuse/Recycle, presents sixteen strategies that demonstrate the high degree of creative and architectural potential inherent in an affirmative approach to built architecture.
Continue after the break to learn more.
The Danish Pavilion for the 2012 Venice Biennale will feature a collaboration between Greenlandic and Danish Architects called “Possible Greenland”. The exhibition will address the current development of the Arctic Region as Greenland undergoes a shift towards political independence and business development in the midst of dramatic climate changes. “Possible Greenland” attempts to look optimistically at the climate changes that are causing ice melts throughout Greenland. The shifting planes result in the exposure of vast mineral resources that can kickstart new industries and allow new urban cultures to emerge.
It is interesting to see how global warming is making Greeland a new center, as water around can now be navigable. But we have been warned. While 38 billions worth of oil can be exploted in the area, a disaster can cost way higher (the Deepwater Horizon spill costed 60 billion). The exhibitions approaches every angle to think about the possible future of Greenland. Visitors are exposed to all this facts in a series of diagrams, projects and videos, including a traditional Greenland house with smoked fishes which give the exhibit a particular atmosphere.
More details about this exhibition can be found in our previous article. More photos after the break:
The pavilion aspires to shed new light onto the status of Korean Architecture allowing the outside world to acquire a deeper and more in-depth understanding of what is currently relevant in the field of architecture in the country. “Walk in Architecture” expresses an idea and at the same time its paradox; it treats architecture as a place or a subject, like “Walk in Venice” or “Walk in a forest”. Walk is a collective action which combines associations: when you walk you think, you meditate, you observe, you dream, you wonder.
The exhibit is is supported by thin wooden supports, holding drawings, diagrams and video displays. Great examples from a country where pedestrians are taking more space than cars. This takes place at the Korean Pavilion at the Giardini, designed by Seok Chul Kim and Franco Mancuso in 1995.