When Kanye West spoke with students at my alma mater on Sunday evening, he said “I really do believe that the world can be saved through design, and everything needs to actually be ‘architected.’” In the social media frenzy that followed, a recurring response that I saw on architecture-centric sites was to snicker at West’s use of the word “architect” as a verb. For many, this was symbolic of West’s ignorance and hubris as he presumed to talk about something without knowing anything.
Except, of course, that “architect” is well recognized as a verb. Dictionaries say so, architects say so, and academics say so. If you’re architect Doug Patt and call yourself howtoarchitect on YouTube, you get a contract from MIT Press to write a book—called How to Architect. If you are the French philosopher Louis Marin, you can suggest that “the castle and gardens of Versailles ‘architect’ the Prince to make him not only the absolute of political power, but the center of the cosmos in its entirety,” and you will be counted among the most eminent semioticians of the twentieth century. If you are Harvard architecture theorist K. Michael Hays, you might stand up at an academic conference and say, “There are only certain things that can be done at this moment. Not just anything can be architected at this moment, right? There are limits.” When you do, people will nod and applaud.
But if you are Kanye West and you suggest that “everything needs to actually be ‘architected,’” it disqualifies you to speak about architecture.
The Cultural Landscape Foundation recently launched its newest documentary as part of the ongoing Oral History series, this time focusing on the ideas and career of Laurie Olin, a recipient of the National Medal of the Arts and one of the greatest landscape architects of our time. Olin's influential work as a practitioner, educator and author over the past forty years has helped to guide the future of landscape architecture and shape urban life around the world.
In the architectural stomping ground that is Rotterdam, it's no small task to design a building that actually stands out. But, according to The Guardian's Oliver Wainwright, the recently completed De Rotterdam building manages to. Although the Koolhaas-designed structure, which houses offices, apartments and even a boutique hotel, may at first seem simple (simplistic, even), Wainwright praises how the shifting masses cleverly play tricks on your perception. The building is undoubtedly impressive, but is the unconventional envelope enough to distract from a bland-at-best interior? Read the rest of Wainwright's critique here. evaluate
Each year when Design Intelligencepublishes "America's Best Architecture & Design Schools," we try to look beyond the rankings. At the end of the day, the report is a snapshot of the state of architecture today and, as such, is a minefield of useful information, particularly for current (or soon-to-be) architecture students. Check out the short infographic after the break to see how the profession's outlook has grown far more optimistic for architecture grads; what firms look for in recent grads (it may surprise you); and the unequal relationship of high-ranking sustainability programs vs. the prevalence of LEED certification.
A team consisting of Mecanoo, Michael van Gessel, Delva Landscape Architects and Jojko Nawrocki Architekci has won a competition to design the Royal Lazienki Museum in Poland's capital. The 1,800 square meter museum will be buried beneath a triangular, 2.5 hectare “Garden of the 21st Century” in Lazienki Park, one of Warsaw’s most popular cultural destinations. Michael van Gessel and Delva Landscape Architects will focus on the garden, while Mecanoo leads the museum's design.
According to LA Times architecture critic Christopher Hawthorne, buildings experience a pretty distinct mid-life crisis. After seeing the demise of mid-century gems such as the Houston AstroDome and the Prentice Women's Hospital in Chicago, it's difficult to disagree. But unfortunately architectural value isn't convincing enough an argument - if preservationists want to get serious about their cause, he suggests, they will have to pick their battles far more strategically.
Filmed at TEDxToronto in September 2013, this talk by architect, educator and theorist Rodolphe el‐Khoury is based on the inevitable “internet of things.” As TEDxToronto described, “More than ever before, the line between the digital and real worlds is increasingly blurred. Historically, computers and devices have functioned as a separate layer within our lives... In this world, our homes, workplaces, and the objects within them will all be digitally connected, intelligent, and responsive.” It is only a matter of time.
"As Autumn Leaves" (AAL) is a spatial installation designed and built by students of the Laboratory for Computational Design (LCD) for Beijing's 2013 Design Week. Located in a historic hutong district in Beijing, AAL highlights the existing entrance to Dashilar Factory where emerging creatives exhibit their design. The concept is based on ephermerality of nature. As temperatures change, autumn turns to winter, and trees shed their leaves, AAL recalls the passage of time through changing seasons.
http://www.archdaily.com/451572/lcd-exhibits-as-autumn-leaves-at-beijing-s-2013-design-weekJose Luis Gabriel Cruz
Qantas has selected Michael Ong as the winner of the 2013 Spirit of Youth Awards 365 (SOYA 365) for architecture and interior design, awarding him $5,000 in cash, $5,000 in Qantas flights, and a rare 12-month mentorship with leading architect and founding partner of Tonkin Zulaikha Greer, Brian Zulaikha. Ong, a Melbourne-based architect, founded MODO (Michael Ong Design Office) in 2011, and was chosen for the prize due to his work on the project Hans House. Check out more about the story here.
Since they first developed the typology for their Quinta Monroy project in Iquique, Chile, the "half-finished home" has become something of a signature for ELEMENTAL: they have used the technique in multiple cities in Chile, as well as their Monterrey Housing project in Mexico. The typology began life as a way of dealing with extremely low budgets, allowing governments to provide housing to citizens at incredibly low prices, but nevertheless creating homes that would provide for the needs of residents and even gain value over time. Now, they have applied the theory to their Villa Verde Housing project, published just last week on ArchDaily.
Read more about the typology, and how it has been applied at Villa Verde, after the break...