The current state of architectural design incorporates many contemporary ideas of what defines unique geometry. With the advent of strong computer software at the early 21st century, an expected level of experimentation has overtaken our profession and our academic realms to explore purposeful architecture through various techniques, delivering meaningful buildings that each exhibit a message of cultural relevancy.
These new movements are not distinct stylistic trends, but modes of approaching concept design. They often combine with each other, or with stylistic movements, to create complete designs. Outlined within this essay are five movements, each with varying degrees of success creating purposeful buildings: Diagramism, Neo-Brutalism, Revitism, Scriptism, and Subdivisionism.
Cultured, one of the leading art, architecture and design magazines, has shared with us part of the 16-page photo essay “No Filter” by Iwan Baan that is being featured in its Winter Issue, on stands now. Enjoy!
If you pore endlessly over images of architecture the way we do, chances are you’ve been drooling over work captured by Iwan Baan. Though he’s adamant that he not be referred to as an “architectural photographer,” Baan has probably captured more buildings, pavilions, residences and just about every other structure in between than any other single lensman. Yet it is Baan’s background in documentary photography that most influences his work. “I choose my projects not so much for the architecture, but for its relationship with the city around it and how people respond to it,” says Baan. “I’m trying to tell the story of the built environment—the places where we live.” Here, Baan tells the story behind 11 projects completed this year, and two others that he has a personal connection to.
“I love great architecture that is very specific for its site and client, it’s for an architect always a dance between him, a site and a client. Here, Gehry was given complete freedom to design every detail, every nook and cranny of a building for Bernard Arnault to house his art collection.”
Read on for more quotes and images by the renowned Iwan Baan.
Given to completed projects, entries can include buildings, interiors, landscaping, refurbishment, urban projects, temporary installations, furniture and product designs. This year the jury was comprised of Catherine Slessor, Hilde Daem, Li Xiaodong, Steven Holl and Will Alsop.
Read on after the break for this year’s Emerging Architecture Award winners.
In an article for The Observer Rowan Moore examines 'Second Home', a newly opened "creative hub" in London designed by Spanish practice SelgasCano, who were recently announced as the designers of the 2015 Serpentine Pavilion. For Moore the project, which is the practice's first building in the UK, offers a "lightness and grace as well as invention, and an awareness of when to stop." The building is designed to be fluid, allowing start-up creative businesses to move in and move out as and when their business model dictates. Heavy tables can emerge from the floor, and 'roaming zones' facilitate creative thought. According to Moore's review, there "are no water-coolers, no kitchenettes, [and] no microwaves."
While you might not recognize him, you know his work; much of today’s most famous buildings are being archived through the lens of Iwan Baan. As the go-to photographer for many of the world’s leading architects, Baan is constantly on the move and exploring new places. And, just as he describes in the NOWNESS video above, he has found that the best way to understand a new city is to “go up” and view it from above.
Although designs for the 2015 pavilion will not be released until February, SelgasCano have promised "to use only one material... the Transparency," adding that "the most advanced technologies will be needed to be employed to accomplish that transparency." This coy description perhaps calls to mind the design of their own office, a partially sunken tube of a building with one side made entirely of curved glass, which won them widespread recognition in 2009.
To give a better idea of the design style that SelgasCano will bring to the 2015 Serpentine Pavilion, we've rounded up a number of their major projects for your viewing pleasure, after the break.
Spanish architects SelgasCano have been selected to design the 2015 Serpentine Gallery Pavilion, which has become one of the top-ten most visited architectural and design exhibitions in the world. The Pavilion will stand in Kensington Gardens during the summer and serving as a multi-purpose social space.
The award-winning studio is led by José Selgas and Lucía Cano and will be the first Spanish architecture practice to design a Serpentine Pavilion, with AECOM once again providing the engineering and technical design services. Although designs will not be revealed until February 2015, SelgasCano had this to say about designing the pavilion:
"This is an amazing and unique opportunity to work in a Royal Garden in the centre of London. Both aspects, ‘Garden’ and ‘London’, are very important for us in the development of this project. We are in the middle of a garden, a ‘Royal’ garden indeed, once divided in two and separated by a Serpentine. That garden clings in the middle of London. Garden and London (which best defines London?) will be the elements to show and develop in the Pavilion. For that we are going to use only one material as a canvas for both: the Transparency. That ‘material’ has to be explored in all its structural possibilities, avoiding any other secondary material that supports it, and the most advanced technologies will be needed to be employed to accomplish that transparency. A good definition for the pavilion can be taken from J. M. Barrie: it aims to be as a ‘Betwixt-and-Between’."
The 35-year career of Elizabeth Diller, a founding partner of the New York–based architecture studio Diller Scofidio + Renfro, is a study of contrasts: conceptual and pragmatic, temporary and permanent, iconoclastic and institutional. After graduating from Cooper Union in 1979, Diller started her practice mounting temporary installations with her partner and future husband, Ricardo Scofidio, their interests leaning closer to art and theory than conventional buildings and construction. Today the duo—along with Charles Renfro, who became a partner in 2004—is responsible for some of the most important architectural projects in the country. DS+R counts Boston’s Institute of Contemporary Art (completed in 2006) and a makeover of New York’s Lincoln Center (finalized in 2012) among its highest-profile works. Especially influential, at least among architects and academics, has been the firm’s unbuilt Slow House (1991), a proposal for a residence on Long Island, New York, renowned for its examination of how we see in a media-saturated world.
Surface recently met with Diller at her office in Manhattan to speak about the ensuing controversy, as well as early career experiences that have influenced her firm’s recent commissions for cultural institutions, including the current exhibition “Musings on a Glass Box” at the Cartier Foundation in Paris (through Feb. 25, 2015), a collaboration with composer David Lang and sound designer Jody Elff. Diller, 60, is pensive and surprisingly relaxed for someone whose aides are constantly interrupting her to remind her of meetings she has to attend. She speaks with an erudite inflection befitting her academic credentials and professional accolades (she is, after all, a professor at Princeton and a MacArthur “genius grant” recipient), though she smiles with the ease of an affable neighbor.
In one of the eight talks that make up the TED Prize-winning City2.0, MASS Design Group Co-founder and Chief Operating Officer Alan Ricks explains how MASS designed and built the Butaro Hospital in Rwanda, in 2008 when "there wasn't even a word for 'architect'" in Kinyarwanda, the national language. Now thanks in part to their work, and the commitment of the many MASS Design Fellows in the area, Rwanda has a more formalized market for architectural services and even a new architecture program at Kigali Institute of Science and Technology.
This year, the Schelling Prize's "indigenous ingenuity" theme was inspired by the 2012 Theory winner Kenneth Frampton's theory of Critical Regionalism, with the prize asking "how can inventive and directly comprehensible architecture satisfy human needs in an appealing way?"
The inaugural Chicago Architecture Biennial now has an official name, with co-directors Joseph Grima and Sarah Herda announcing "The State of the Art of Architecture" as the biennial's theme last week. Taking its name from a 1977 conference organized in Chicago by Stanley Tigerman, which focused on the state of architecture in the US, next year's Chicago Architecture Biennial will aim to expand that conversation into the "international and intergenerational" arena.
In addition to the new name, the Biennial also announced its first major project, a photo essay of Chicago by Iwan Baan, which will contextualize the many landmarks of the Chicago skyline within the wider cityscape and within the day-to-day life of the city.
Read on for more about the biennial theme and more images from Iwan Baan.
AIA Los Angeles (AIA|LA) has announced the recipients of the 2014 Design Awards. Twenty-one Los Angeles firms and 14 presidential honorees have been honored for excellence in both built (Design Awards) and unbuilt works (Next LA Awards).
The first tenant has moved into the One World Trade Center, making Monday, November 3, the official opening of the (arguably) tallest building in the Western hemisphere 13 years after the tragedy of 9/11. The “extraordinary moment was passed in the most ordinary of ways,” described the New York Times, as employees of Conde Nast entered into the white marble lobby (taken from the same quarry that produced marble for the original twin towers) and headed straight to the elevators to start their work day.
To celebrate its completion, renowned architectural photographers Iwan Baan and James Ewing took it to the sky to capture the One World Trade Center in all its glory. The images, after the break.
When the Makoko Floating School was completed in March 2013, it received wildly enthusiastic critical acclaim from the international news media. The simple A-frame structure, buoyed by recycled plastic barrels in a lagoon in Lagos, Nigeria, was designed by NLÉ, a Lagos- and Amsterdam-based studio founded by the architect Kunlé Adeyemi. The project, intended as a model for how Lagos’s floating community could build simple, sustainable structures for themselves, subsequently faced a few challenges. One of the biggest was winning over local officials, who simply did not know what to make of such a building.
The people behind Frank Gehry'sFondation Louis Vuitton (FLV) in Paris, which is set to officially open on the 27th October 2014, recently invited a band of architecture critics to take a look around and pen their thoughts. Gehry's bold approach to architectural form, most evident in buildings like the Guggenheim Museum in Bilbao and the Walt Disney Concert Hall in LA, matches the foundation's aim to "promote and support contemporary and artistic creation" in France. According to their website, they in particular embody "a passion for artistic freedom." How, then, has the enormous sailed structure, challenged by local opposition from the outset, settled into its Parisian parkland surroundings?