Located a few meters from the terminal of Naoshima, the Japanese island better known as the "Art Island", Sou Fujimoto's Pavilion appears as a translucent and lightweight diamond perched on the coastal edge of Kagawa, visible from SANAA's ferry terminal welcoming the visitors to the island.
This week the 2016 Venice Architecture Biennale—Reporting From the Front—will close. Six months have passed and hundreds of thousands of architects, urbanists, designers and tourists have perused both the National Participations (of which more were represented this year than ever before) and the central exhibition curated by Alejandro Aravena – the first South American to direct the most prestigious event on the architectural calendar. ArchDaily has compiled our most extensive coverage of the event and, as the 15th incarnation of Biennale shuts its gates for the last time, our collection of articles, interviews and publication excerpts remains permanently accessible.
Last week ArchDaily attended the 2016 World Architecture Festival (WAF) in Berlin. Following his opening keynote address, we talked to Ben van Berkel of UN Studio who spoke of his interest in using technology in architecture to improve not only user experience, but to affect qualitative aspects of design itself. Together with his partner Caroline Bos, Van Berkel recently published Knowledge Matters, a book positioned "to help architects to run a better studio and to share knowledge."
Last week ArchDaily attended the 2016 World Architecture Festival in Berlin. We chatted with Sir Peter Cook and asked him about the current state of global affairs (Brexit, the US election, etc). He explained how his experience and work has influenced a career that has spanned over five decades, and reminds us of the inspiring power of architecture.
Located on Paseo de la Reforma, Mexico City’s most renowned avenues, Torre Reforma is part of a cultural, historical, and financial district. It is a turning point for vertical urban growth in the megalopolis of Mexico City, having a 2,800 m2 ground site, extremely small for a high-rise building of roughly 87,000 m2.
In this interview, presented in collaboration with PLANE—SITE, Pierre Bélanger, curator of the Canadian contribution to the 2016 Venice Biennale—explains why Canada's practices of mining and extraction should be carefully understood for their architectural implications. Together with his firm OPSYS, Bélanger conceived of a miniaturized experience of an "inverted territorial intervention" so that Biennale visitors could personally experience and relate to "the complex ecologies and vast geopolitics of resource extraction."
After training at the prestigious Bezalel Academy of Arts and Design in Israel and moving to New York in 2000, Eran Chen founded ODA New York, a boutique architectural firm based in NYC. Chen has quickly become a recognized name associated with creating buildings that are not only innovative but also ecologically responsible. ODA has participated in high profile projects such as the "super-skinny and super-tall" Manhattan Tower and "a city within a city" in Brooklyn.
We had the pleasure to interview Sergei Tchoban, member of the Urban Advisory board of the City of Moscow and leading partner of the Berlin office NPS Tchoban Voss, designers of projects such as the Nhow Hotel, and of the Moscow office SPEECH. The Russian architect is also an artist and owner of a vast collection of architectural drawings.
Ahead of this weekend's symposium “THE DEBATE”—which will take place in Kotor, Montenegro and will present the results of the Project Solana Ulcinj for the national and international audience of the KotorAPSS (Kotor Architectural Prison Summer School)—we present an interview with Bart Lootsma, co-curator of the Montenegro Pavilion at the 2016 Venice Architecture Biennale.
The Technical Faculty is part of the University of Southern Denmark (SDU) in Odense, and constitutes a shared research and education environment for four different institutes. The building is designed as one big envelope consisting of 5 buildings connected by bridges at multiple levels crossing the heart of the complex, a "piece of furniture" containing common functions and meeting-rooms, and giving access to a roof garden/café/lounge area. The many connections allow for more fluid boundaries, and more community and knowledge sharing.
Located on a triangular site within the Polanco area of Mexico City, this new museum building exhibits part of one of the largest private collections of contemporary art in Latin America – Colección Jumex – and is part of a wider urban redevelopment. Overlooked by large commercial buildings, the constrained site is delineated by the major street Miguel de Cervantes Saavedra, the Ferrocarril de Cuernavaca railway line and an adjacent property to the east. The extremely individual quality of the neighbouring buildings overrides any attempt to integrate the new museum within this particular urban context.
With the design for Los Manantiales, Felix Candela’s experimental form finding gave rise to an efficient, elegant, and enduring work of structural art. Comprised of four intersecting hypars, a strikingly thin roof surface creates a dramatic dining space. Built as Candela was establishing an international reputation as the foremost shell building, he demonstrated to the world his masterful combination of artistry and technical virtuoso.
Since its reopening, the Cineteca Nacional Siglo XXI attendance numbers continue to surprise with a total of 806,803 viewers in 2013 -an increase of 29.22% compared to the previous year and with 1,287 more movies screened-.
The Soumaya Museum is home to a private art collection of nearly 70,000 works from 15th to mid-20th century, including the world’s largest private collection of Auguste Rodin sculptures.
Keep an eye out, or you might miss the Museu Brasileiro de Escultura (a.k.a. MuBE, pronounced MOO-bee). Widely considered the masterpiece of Pritzker Prize-winner Paulo Mendes da Rocha, the building was in fact born out of the desire to have no building at all. When in the 1980s an empty lot in Sao Paulo's mansion-laden Jardins district was slated to become a shopping mall, wealthy residents successfully lobbied to create a public square instead. To sweeten the deal and ensure the land stayed commercial-free, they hired Mendes de Rocha to create MuBE. Completed in 1995, the 7000-sq-meter museum hunkers down beneath ground level, thus preserving what in Sao Paulo is that rarest of luxuries: a public green space.