As an unavoidable art form, “architecture is one of humanity’s most visible and long-lasting forms of expression,” writes Complex Media. Within the past 150 years—the period of modern architecture—a distinct form of artistry has developed, significantly changing the way we look at the urban environments around us. To highlight some of the key figures in architecture over the past 150 years, Complex Media has created a list of “25 Architects You Should Know,” covering a range of icons including Zaha Hadid, Ieoh Ming Pei, Philip Johnson, Oscar Neimeyer, SOM, Daniel Libeskind, and more. Read the full list to learn more about each iconic architect, here.
Daniel Libeskind will be joining CNN for a month-long editorship that will explore the "interplay between architecture and emotion." As CNN reports, CNN Style is a "new international destination for cosmopolitan, global audiences" that will kickstart with Libeskind's architecture series this July.
The violent insertion of Daniel Libeskind’s Spiral into the Victorian neighborhood of South Kensington renders a cataclysmic disruption into a landscape of order and propriety. It envisions a rupture in the fabric of space and time, aggressively anachronistic from the building it adjoins, unapologetically appealing not to cultured humanism but to the mathematical logic of complexity and chaos. What is now textbook "Libeskind" was in 1996 a shocking non-starter for the London establishment, an unacceptable risk for a city perpetually torn between its agitated cosmopolitan energies and its quintessential impulse toward nostalgia and restraint. Nearly twenty years after the Spiral was selected as the winner of a distinguished international competition, this controversial extension proposal for the Victoria and Albert Museum remains unbuilt.
From Paris' most abhorred tower to New York's controversial government center, seven renowned architects have stepped up in defense of the world's most hated buildings in a newly published article on T Magazine. As told to Alexandra Lange, the article presents direct quotes from Zaha Hadid, Daniel Libeskind, Norman Foster and four others regarding controversial architecture whose importance goes beyond aesthetics.
See what hated building Norman Foster believes to be a "heroic" structure, after the break.
With 145 countries participating in the 2015 Expo, alongside input from international organizations, corporate partners and an extensive program organized by the Expo itself, there's a lot going on in Milan right now. So much so, in fact, that it can be a little overwhelming to get a handle on all the sights that are worth your attention.
To help you out, we've put together a guided tour of the key pavilions that are turning heads, including the defining vistas of the expo grounds, the displays that are worth your time and the oddities that might entertain. From the Expo's defining icon, the 30-meter-tall Tree of Life, to the exhibition on architecture's favorite consumable (that's coffee), and all the national pavilions in between, the things you need to see are here. Whether you're planning to visit the Expo and want a quick and dirty way to ensure you've covered the highlights, or whether you're simply hoping to live vicariously through the internet, this tour is for you.
Daniel Libeskind, together with Italian paint company Oikos, has transformed the Università Statale’s Pharmacy Courtyard into a garden of "Future Flowers" as part of the 2015 Milan Design Week. On view through May 24, the installation was inspired by one of Libeskind’s "Chamberwork" drawings. It features a series of intersecting red metal "blades" that represent a collection of Oikos paints developed by Libeskind.
Dalibor Vesely, a celebrated architectural historian, philosopher and teacher, died this week in London aged 79. Over the course of his teaching career, which spanned five decades, he tutored a number of the world’s leading architects and thinkers from Daniel Libeskind, Alberto Pérez-Gómez and Robin Evans, to Mohsen Mostafavi and David Leatherbarrow.
Vesely was born in Prague in 1934, five years before the Nazi occupation of Czechoslovakia. Following World War II, he studied engineering, architecture, art history and philosophy in Prague, Munich, Paris and Heidelberg. He was awarded his doctorate from Charles University (Prague) having been taught and supervised by Josef Havlicek, Karel Honzik, and Jaroslav Fragner. Although later he would be tutored by James Stirling, it was the philosopher of phenomenology Jan Patočka who, in his own words, “contributed more than anyone else to [his] overall intellectual orientation and to the articulation of some of the critical topics” explored in his seminal book, Architecture in the Age of Divided Representation, published in 2004.
From Vitruvius to Le Corbusier, words and writing have always played an essential role in architectural discourse. One could argue that crafting words is akin to orchestrating space: indeed, history’s most notable architects and designers are often remembered for their written philosophies as much as they are for their built works.
With the exception of a few of architecture’s biggest names, the majority of practicing architects no longer exploit the inherent value writing offers as a means for spatial and theoretical communication. This trend is exacerbated by the fact that many architectural schools place little emphasis on the once-primary subjects of history and literature, resulting in a generation of architects who struggle to articulate their ideas in words, resulting in an ever-growing proliferation of ill-defined “archispeak.”
LOBBY is an attempt from students of London’s Bartlett School of Architecture to reclaim the potency of the written word, presenting in their second issue an ambitious array of in-house research and external contributions. The theme is Clairvoyance, and the journal seeks to investigate the ways in which architects are forced to constantly grapple with the possibilities and uncertainties of designing spaces that exist in the intangible realm of the world-to-be.
In light of the recent opening of Mons International Congress Xperience (MICX), Daniel Libeskind hosted a private tour through the conference center, explaining his thinking behind the building’s expressive form. The experience was captured on this short film by Spirit of Space with the intention to open the discussion up to a larger audience.
The building, an important new landmark in the Belgium city of Mons, is described by Libeskind as “an expression of contrasting geometric forms.” Aside form providing function and “lively” spaces for auditoria and conference use, the building aims to be “a hinge between the old city and the new.”
Architects: Studio Libeskind, H2a Architecte & Associés
Location: Avenue des Bassins, 7000 Mons, Belgium
Owner: City of Mons
Area: 12500.0 sqm
Project Year: 2015
Photographs: Hufton + Crow
"Its an adventure, because it's a highly political, highly emotional, highly complicated process, to get something built on the site which is about memory," explains Daniel Libeskind. "It's a day that changed the world… and architecture responds in constructing something that has sense for people, that has spirit."
In an interview with Shaunacy Ferro for FastCo Design, Daniel Libeskind looks back over his built works and discusses the significant 'emotional weight' imbued in many of his projects, from the Jewish Museum in Berlin to his masterplan for Ground Zero in New York City. When asked why he continually returns to projects such as Holocaust memorials - with the Canadian National Holocaust Memorial currently underway in Ottawa - Libeskind stated: "It’s not something that I choose very lightly, because it’s very difficult, but I believe that it’s very important." For him, creating these monuments is part of the act of doing "something that moves us beyond just the darkness and gives us something positive. [...] Even when it comes to the memory, you can’t just dwell on the irreversibility of the tragedy. You have to have something hopeful."
In June of this year seven architecture students came together to film the vernissage of the Venice Biennale. Undaunted by the unrelenting Venetian sun and the prospect of being faced by some of the world's greatest living architects and curators, the team - spanning four nationalities - spent three days feverishly talking to anyone and everyone (in between pasta and espresso breaks). Having built up a comprehensive picture of the opening days of the Biennale in a series of short, uninhibited filmed interviews, Mies. TV proudly presents their alternative, slightly shaky coverage of the 2014 Venice Biennale.
Watch short interviews with the likes of Jacques Herzog (Herzog + de Meuron), Daniel Libeskind, Patrik Schumacher (Zaha Hadid Architects), Sir Peter Cook (CRAB Studio), Wolf D. Prix (Coop Himmelb(l)au), Sam Jacob (FAT), and ArchDaily's very own Editor-in-Chief - David Basulto - after the break.
As a student of architecture, the formative years of study are a period of wild experimentation, bizarre use of materials, and most importantly, a time to make mistakes. Work from this period in the life of an architect rarely floats to the surface - unless you're Zaha Hadid or Frank Gehry, that is. A treasure trove of early architectural drawings from the world's leading architects has recently been unearthed from the private collection of former Architectural Association Chairman Alvin Boyarsky. The collection is slated to be shown at the Kemper Art Museum, Washington University, St. Louis, as a part of the exhibition Drawing Ambience: Alvin Boyarsky and the Architectural Association from September 12th to January 4th, 2015.
Take a look at the complete set of architects and drawings for the exhibition after the break.
A few years ago London’s Architectural Association held an exhibition called First Works: Emerging Architectural Experimentation in the 1960s & 1970s, which wonderfully gathered together early projects from a host of the most famous names in architecture. In both Zaha Hadid’s gorgeously animated plan/perspectives of the Taoiseach’s Residence and Daniel Libeskind’s intensely unstable drawings of Micromegas, you can already sense a lifetime of formal exploration ahead for the pair; and yet who would ever guess the unique tectonic language to come from the anonymously mundane drawings of the Sequoyah Educational Research Centre by Morphosis?
When I set up the Global Architecture Graduate Awards (GAGAs) at The Architectural Review in 2012, it was with the insight that, at its best, the work produced at the start of a career can be its most daring and projective. At that fertile threshold between the academy and practice, uncertain graduates can be years ahead of more assured and mature colleagues in the creative risks they are willing to take.
In this video from our friends at Spirit of Space, Daniel Libeskind talks about his installation for the Venice Pavilion at the 2014 Venice Biennale, entitled 'Sonnets in Babylon'. The installation deals with drawing, an act that Libeskind believes is "the foundational art, and the mystery and the magic of all buildings and cities." To Libeskind, drawings are akin to religious materials, communicating meaning without the use of a fixed language and each with its own power to shape the way we understand the world around us. At the end he gives a hint as to why he is so attached to drawings: "I drew for many years before I even built a building. But I based those buildings that I built on the drawings I made... Every drawing is also a tool for the future."
In the architecture world, few designers can claim to have such a clearly-defined style than Daniel Libeskind (born May 12, 1946). Much of Libeskind's work is instantly recognizable for its angular forms, intersecting planes, and frequent use of diagonally-sliced windows, a style that he has frequently used to great effect in museums and memorials - but which seems equally adaptable to conference centers, skyscrapers and shopping malls.