Architects: Major Architekci
Location: Wroclaw, Poland
Collaborators: Aleksandra Doniec, Joanna Omylska, Anna Owsiany, Alicja Adamowicz, Magdalena Kluz, Mariusz Borowiec, Slawomir Lazewski, Kamila Jacyniuk, Pawel Major, Joanna Nosal
Project Year: 2010
Project Area: 2,800 sqm
Photographs: Daniel Rumiancew
Next week we will be taking our Architecture City Guide to Lisbon and we need your help. To make the City Guides more engaging we are asking for your input on which designs should comprise our weekly list of 12. In order for this to work we will need you, our readers, to suggest a few of your favorite modern/contemporary buildings for the upcoming city guide in the comment section below. Along with your suggestions we ask that you provide a link to an image you took of the building that we can use, the address of the building, and the architect. (The image must be from a site that has a Creative Common License cache like Flickr or Wikimedia. We cannot use images that are copyrighted unless they are yours and you give us permission.) From that we will select the top 12 most recommended buildings. Hopefully this method will help bring to our attention smaller well done projects that only locals truly know. With that in mind we do not showcase private single-family residences for obvious reasons. Additionally, we try to only show completed projects.
This week we are headed to Lisbon.
Example of the information we need for your suggestion:
Champalimaud Centre for the Unknown
Architect: Charles Correa Associates
Location: Pedrouços, Av. da Índia, Lisbon, Portugal
Yesterday we showed you a preview, and here it is the full interview with one of the most influential contemporary architects.
Architect, educator, and theorist, internationally recognized Peter Eisenman was a part of an important generation of architects and popularized amongst the general public when he was exhibited at the MoMA in 1969 as one of the New York Five. Eisenman, along with Michael Graves, Charles Gwathmey, John Hejduk, and Richard Meier (Eisenman’s second cousin) made up the ‘group of architects whose work, represented a return to the formalism of early modern rationalist architecture’.
Eisenman earned a Bachelor of Architecture degree from Cornell University, a Master of Science in Architecture degree from Columbia University, and M.A. and Ph.D. degrees from Cambridge University (U.K). He founded an international think tank for architecture, the Institute for Architecture and Urban Studies (IAUS), serving as director until 1982 and simultaneously established his own architecture firm.
As an educator, Eisenman has taught at some of the most prestigious architecture programs including the Yale School of Architecture, Cambridge, Princeton, Harvard, and Ohio State universities.
Peter Eisenman’s work ranges from large-scale housing and urban design to educational institutions and private houses. Often labeled as a deconstructivist Eisenman is also known for his intricate drawings. He has been recognized for his design abilities receiving the Medal of Honor from the New York chapter of the American Institute of Architects in 2001, the Smithsonian Institution’s 2001 Cooper-Hewitt National Design Award in Architecture, and he was also awarded the Golden Lion for Lifetime Achievement at the 2004 Venice Architecture Biennale.
In 2006 Eisenman’s design for the University of Phoenix Stadium for the Arizona Cardinals earned him the label as one of the top five innovators of 2006 according to Popular Science.
Eisenman’s most recent book Ten Canonical Buildings: 1950-2000 revisits some of the most important buildings of the past century with a critical view, a must read for every architect.
Projects by Eisenman previously featured at ArchDaily:
“I can hear with my knee better than with my calves.” This statement made by Bernhard Leitner, which initially seems absurd, can be explained in light of an interest that he still pursues today with unbroken passion and meticulousness: the study of the relationship between sound, space, and body. Since the late 1960s, Bernhard Leitner has been working in the realm between architecture, sculpture, and music, conceiving of sounds as constructive material, as architectural elements that allow a space to emerge. Sounds move with various speeds through a space, they rise and fall, resonate back and forth, and bridge dynamic, constantly changing spatial bodies within the static limits of the architectural framework. Idiosyncratic spaces emerge that cannot be fixed visually and are impossible to survey from the outside, audible spaces that can be felt with the entire body. Leitner speaks of “corporeal” hearing, whereby acoustic perception not only takes place by way of the ears, but through the entire body, and each part of the body can hear differently.
- George Kargl, Fine Arts Vienna
With a new firm name and a unique offer, Design Farm… announced their new offer: Free Schematic Design Services to Individuals, Non-profits, Small Businesses and Developers. This is the essence of what makes this competition so unique. You submit the
Our friends over at OFIS Arhitekti recently sent us a copy of their latest book that showcases their work, which includes a foreword from David Basulto, Founder & Editor of ArchDaily. We have featured a good deal of the projects featured in this book. If you would like a preview of what book offers check out our features, including a short interview and the Farewell Chapel, ArchDaily’s viewers’ choice for the 2009 building of the year in the religious category. Also check out part of David Basulto’s forward to this book after the break.
On the occasion to the 7th Festival of the Lively Architectures in Montpelier, Champ Libre association throws a call for applications to realize 10 interventions.
The Festival is part of the city heart of Montpellier; it will take place in…
Architects: Luigi Rosselli Pty Ltd
Location: Sydney, Australia
Design Architect: Luigi Rosselli
Project Architect: Jane McNeill, Bill McMahon
Project Team: Sean Johnson, Rebecca Martin, Naoko Nishizu, Corrado Palleschi, Carl Rutherfoord, Kristina Sahlestrom
Project Area: 600 sqm
Photographs: Justin Alexander
The proposal for the Saint-Laurent’s Sports Complex by DATA Architects finds its balance between the partial restructuring of the existing gymnasium and the construction of a new figure to the simple geometry and resolved, a quadrilateral with sides slightly curved, which refers to the site while inspired by the dominant archetype of this type of sports equipment. More images and architects’ description after the break.
Malta Design Week‘s primary purpose is to provide a platform for the expanding local design talent to interact and experience work and designers from a broad international scene, right at home. Fashioned to promote and celebrate good design, this seven-day event, from October 1st-8th, will be spread across cultural and commercial venues around Malta.
Having its base in the capital – Valletta, but also spilling and spreading across several satellite-event hosting venues – MDW aims to place various design disciplines on the same platform. It will host exhibitions, talks, workshops and launches bringing together local and foreign designers, architects, artists, artisans, journalists, critics, academics and entrepreneurs.
More information on the event after the break.
The 2011 MIPIM Asia Awards recently announced that Kohn Pedersen Fox Associates (KPF) garnered five awards out of the 29 awarded, the largest number of awards won by a single architectural firm. Recognized for the Inernational Commerce Centre in HongKong, Wheelock Square in Shanghai, the Abu Dhabi International Midfield Complex, the Xintiandi Hotels, and Singapore’s Marina Bay Financial Centre, KPF will receive their prizes at the prestigious Awards Gala Dinner on November 16.
KPF was one of the first US architecture firms to start working in China, and has had a strong presence there for over 20 years, including growing offices in Shanghai and Hong Kong. These five awards serve as an affirmation of KPF’s unmatched experience and leadership in the region.
ArchDaily sat down with Eugen Kohn and Bill Pedersen back in February. The AD interview with KPF can be viewed here.
What was first apparent was that the trailers floated on little orange steel jacks, precariously sitting up on pins. Fat grey bodies on insect feet. They looked like they could have been knocked over by bullies in the night. Whomsoever wished to disturb these foreign elements could have penetrated their thin paneling and blown them apart, or burned them down. An angry mob could have scattered them over the city or put them in shopping carts and carted them away to underpasses and bus shelters. Such was the confidence and audacity of the academy, that it could abandon all shelter and camp out in this empty heart.
A failing, ragged chainlink fence ringed the perimeter of the dirt lot. There were tumbleweeds picking up little bits of indescribable trash and continuing along until they hit the fence where they formed sculpted dunes of tangled, dangerous-looking junk. This was ground zero of the new Green Zone in the bad backyard of Rayner Banham’s city—the fifth ecology, Darwinian drifter, evolved and sampled from the other four and distributed across the late-capitalist grid. This was the future. But other parts of the city had been promised similar futures in the past. Joan Didion would remember that. The school was counting on it. The kids would come. They would come with their student loans and their trust funds, their hair, Puma’s and hope.