Lasting for close to two decades now, the annual Serpentine Gallery Pavilion Exhibition has become one of the most anticipated architectural events in London and for the global architecture community. With this year’s edition featuring not just one pavilion but four additional “summer houses,” the program shows no sign of slowing down. Each of the previous sixteen pavilions have been thought-provoking, leaving an indelible mark and strong message to the architectural community. And even though each of the past pavilions are removed from the site after their short summer stints to occupy far-flung private estates, they continue to be shared through photographs, and in architectural lectures. With the launch of the 16th Pavilion this month, we take a look back at all the previous pavilions and their significance to the architecturally-minded public.
Through 181 images, Guerra shows us Siza's masterful play of light and shadow. The photos allow us to experience a full day at the museum: the morning sun, followed by sunset and finally, the museum illuminated at night.
Today, one of the most recognized and respected architects in the world turns 83: Álvaro Siza Vieira. Awarded the Pritzker Prize in 1992, the Portuguese architect charmed the jury at the time, who explained their choice by saying: “his forms, shaped by light, appear deceptively simple, they are honest.”
One of the most highly regarded architects of his generation, Portugese architect Álvaro Siza (born 25 June 1933) is known for his sculptural works that have been described as "poetic modernism." When he was awarded the Pritzker Prize in 1992, Siza was credited as being a successor of early modernists: the jury citation describes how "his shapes, molded by light, have a deceptive simplicity about them; they are honest."
Description from The Serralves Museum of Contemporary Art: The first of a developing programme at the Serralves Museum of Contemporary Art of exhibitions talks and events dedicated to contemporary architecture, ‘Raw Material’ presents plans, sketches, correspondence and photographs that offer a fuller understanding of the process of architectural design, beyond the self-sufficiency of the realized project. This will be the first exhibition to draw upon the recent gift to the Fundação de Serralves of 40 projects from the archive of Álvaro Siza as part of a collaboration between Fundação de Serralves, the Canadian Centre for Architecture in Montreal and Fundação Calouste Gulbenkian in Lisbon.
Álvaro Siza’s practice is distinguished by his use of drawing as a working instrument in the prefiguration of forms and spaces within the process that brings him successively closer to the desired result. But an archive is more than just a set of drawings. The architect’s correspondence with his clients, the photographic record of the places where the works are to be built, relations with regulatory authorities and the opinions of the multiple actors involved in the construction processes, the models that support the perception of the proposals, the minutes of meetings and reports of the tensions arising at the building sites are documents that record an infinite number of episodes that remain invisible in the finished work. Offering insight into their contingent processes, the exhibition also offers invaluable understanding of the processes associated with the inventory, classification, and conservation of Siza’s archive, which will serve as a focus for future research and discussion about the role of architecture in contemporary society.
As part of ArchDaily's coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
As a response to the 15th International Architecture Exhibition’s challenging theme, Portugal presents a “site-specific” pavilion, occupying an urban front in physical and social regeneration on the island of Giudecca: Campo di Marte. In actual fact, the installation of the pavilion on-site triggered the completion of Campo di Marte’s urban project designed by the Portuguese architect Álvaro Siza thirty years ago.
There is an enormous intensity of information, knowledge and ideas on display at this year's Venice Architecture Biennale, Reporting From the Front. With all the Executive Editors and Editors-in-Chief of ArchDaily's platforms in English, Spanish and (Brazilian) Portuguese in Venice for the opening of the 2016 Venice Architecture Biennale—plus co-founder David Basulto and European Editor-at-Large James Taylor-Foster, who curated this year's Nordic Pavilion—we've pooled together twelve of our initial favourite exhibitions and must-see shows.
http://www.archdaily.com/788809/12-things-you-need-to-see-at-the-2016-venice-biennale-reporting-from-the-front-selection-oneAD Editorial Team
Two sculptures—Obelisk by Alison and Peter Smithson and Columns by Álvaro Siza Vieira—have been re-erected in Shatwell, a "semi-derelict agricultural complex" located in rural England. The instatement of the monuments form a part of an evolving programme of installations which Drawing Matter, an organisation founded by Niall Hobhouse "that champions the process of architecture through collecting, archiving and commissioning," will use to explore the relationship between architecture, sculpture and landscape.
Due to a fire in 1988, the Chiado district of Lisbon had many of its buildings damaged or partially destroyed by the flames, and an intense restoration and recovery project led by Álvaro Siza has been going on for over a decade.
Among the strategies employed by the Portuguese architect (and winner of the 1989 Pritzker Prize) is the reorganization of routes and walkways, creating elevated walkways to facilitate access to the area and the flow of locals and visitors. According to the Municipal Council of Lisbon, Siza has recently completed the connection between one of the courtyards of the Carmo Convent (Patio B) to the Largo do Carmo square and the Carmo Terraces with a pedestrian path.
“Concrete has the ability to be primitive and technological, massive and levitating, to combine the properties of steel with those of mud,” says Rowan Moore in his list of The 10 best concrete buildings created for The Guardian. Through examples spanning three continents, Moore unites old standbys with unexpected wonders, all of which show the varied possibilities inherent in mixing water, aggregate, and cement. In a list that incorporates examples from Classical times to the present, Moore establishes concrete’s unique ability to adapt to different times, styles, applications, and treatments.
Examples by Le Corbusier, Álvaro Siza, Lina Bo Bardi, and Marcel Breuer demonstrate that concrete is anything but workaday or utilitarian. Moore’s list affirms that a material simultaneously strong and light, durable, sustainable, and fire-resistant, can scarcely be considered anything short of miraculous. Of course, ten buildings can only provide an abridged version of concrete’s possibilities, and Moore cheekily apologizes for some of the obvious omissions. Check out the full list here.
The project is conformed by two red brick buildings, one which houses an auditorium with capacity for 300 seats and a second building with all the offices and technical spaces associated to the theater.
An image of Álvaro Siza's first US building has been released. The luxury New York tower, planned for the corner of West 56th Street and Eleventh Avenue in Midtown, will rise up to 120 meters (just over 400 feet) and offer 80 units, a private roof garden, sun deck, spa and fitness center, and more.
In honor of International Museum Day we’ve collected twenty compelling museum projects. In this round up you’ll find a truly global selection; from Wang Shu's Ningbo Historic Museum in China and Tod Williams + Billie Tsien's Barnes Foundationin Philadelphia to Monoblock's Contemporary Art Museumin Buenos Aires, see all of our editors’ favorites after the break!
http://www.archdaily.com/631994/archdaily-editors-select-20-more-amazing-21st-century-museumsAD Editorial Team
Following our top 40 Architecture Docs to Watch in 2014and our favourite 30 Architecture Docs to Watch in 2013, 2015 is no exception! Our latest round up continues to feature a fantastic range of films and documentaries telling the tales of unsung architectural heroes and unheard urban narratives from around the world. This entirely fresh selection looks past the panoply of stars to bring you more of the best architectural documentaries which will provoke, intrigue and beguile.
From a film which explores one man's dream to build a cathedral (#4) and a simultaneous history of and vision of Rotterdam's future (#7), to a tour of the world's last surviving squatter town in Copenhagen (#14) and A Short History of Abandoned Sets in Morocco (#16), we present - in no particular order - thirty freshly picked documentaries for you to watch in 2015.
ArchDaily is continuing our partnership with The Architectural Review, bringing you short introductions to the themes of the magazine’s monthly editions. In this editorial from AR’s February 2015 issue, AR Editor Catherine Slessor reflects on Álvaro Siza's ouevre, from his early work in Évora to his latest effort in China. Though the latter is admittedly elegant, Slessor concludes that in comparison to his older transformative designs the recent incarnation of "brand Siza" is a "predictable triumph of style over content."
The great Portuguese Modernist Fernando Távora once remarked "Style is not of importance; what counts is the relation between the work and life, style is only the consequence of it." His friend and protégé Álvaro Siza echoed this sentiment when he said: "Architecture does not have a pre-established language nor does it establish a language. It is a response to a concrete problem, a situation in transformation, in which I participate. In architecture, we have already passed the phase during which we thought that the unity of language would resolve everything. A pre-established language, pure, beautiful, does not interest me."
Siza's awarded building – named The Building on the Water – is located in Huai'na, Jiangsu Province (China), and was designed together with Portuguese architect Carlos Castanheira for the company Shihlien Chemical Industrial Jiangsu Co.
Showing gratitude for the acknowledgement, Siza highlighted that the building process went as planned, without any drawbacks, and client Mr. Por-Shih Lin contributed a lot with the project. "I use to say the building's owner is the first architect and without his effort it's nearly impossible to get satisfying results," said Siza, the first Portuguese Pritzker laureate.