“Architecture is too complex to be solved by any one person.”
Richard Rogers is an architect who understands the significance of collaboration. As a man with an intense social mind and a thirst for fairness in architectural and urban design, Rogers’ substantial portfolio of completed and proposed buildings is driven by the Athenian citizen’s oath of “I shall leave this city not less but more beautiful than I found it.”
In honor of his success, London’s Royal Academy (RA) is currently playing host to a vast retrospective of Richard Rogers’ work, from his collaborations with Norman Foster and Renzo Piano, to the large-scale projects that define Rogers Stirk Harbour + Partners (RSHP) today. The RA’s extensive exhibition has been condensed into a series of motifs that have defined his architectural work, punctuated by memorabilia which offer personal insights into how Rogers’ career has been shaped by the people he’s worked with and the projects that he has worked on.
Continue after the break for a selection of highlights from the exhibition.
We will be publishing Nikos Salingaros’ book, Unified Architectural Theory,in a series of installments, making it digitally, freely available for students and architects around the world. The following chapter, "The Structure of Architectural Theories," posits that architecture, if it is truly to work with natural ecosystems, must adopt a scientifically-informed, systemic approach. If you missed the introduction, you may find it here.
Architecture is a human act that invades and displaces the natural ecosystem. Biological order is destroyed every time we clear native plant growth and erect buildings and infrastructure. The goal of architecture is to create structures to house humans and their activities. Humans are parts of the earth’s ecosystem, even though we tend to forget that.
Logically, architecture has to have a theoretical basis that begins with the natural ecosystem. The act of building orders materials in very specific ways, and humans generate an artificial ordering out of materials they have extracted from nature and transformed to various degrees. Some of today’s most widely-used materials, such as plate glass and steel, require energy-intensive processes, and thus contain high embodied energy costs. Those cannot be the basis for any sustainable solution, despite all the industry hype.
Resource depletion and a looming ecological catastrophe are consequences of detachment from nature, and a blind faith in technology to solve the problems it creates.
To mark its 10th anniversary and 29th issue, Log presents In Pursuit of Architecture, a conference featuring recent built work selected from an open, international call for submissions. Join architects and critics for a daylong discussion of architectural ideas, what it takes to build them, and how we measure the cultural value of architecture.
Even if you're a 3D printing whiz (if so, consider entering our exciting 3D Printing Challenge), to many people it remains something of a mystery: how does it work, what can it do and how much does it cost? Thankfully, this recent article and infographic by Line//Shape//Space, aimed at "early adopters" of the technology, covers all this information (and even some common pitfalls to be avoided). You can read the full article here.
Herzog & de Meuron and HASSELL's winning design for Melbourne's Flinders Street Station might not be built due to the fact "the State Government has of yet, refused to promise funding for the design, and ruled out selling the station in order to finance the construction." The project was estimated to cost "approximately $1 billion to $1.5 billion to be realised", which is "on top of the $1.6 million already spent on the competition", leading critics to describe the competition as a "waste of money."
Following the news that Studio V Architecture has been commissioned to convert the 19th century Empire Stores, next to Brooklyn Bridge, into 380,000 square-feet of office, restaurant and commercial space, Bjarke Ingels Group (BIG) has unveiled designs for "a flowering meadow with seasonal grasses, a sprawling field and a triangular wooden viewing platform" close by.
Maria Alessandra Segantini, principal of C+S Architects will be giving a lecture on Thursday, September 19, 1:00pm at Columbia GSAPP, New York. The lecture, called -Scape Adaptors, will be introduced by Kenneth Frampton.
The Pinakothek der Moderne in Münich by Stephan Braunfels (2002) recently went through a complete renovation, and for the re opening of the museum Audi debuted the design wall, an installation that has become part of the permanent collection of the Die Neue Sammlung (The International Design Museum).