With the new millennium, architectural photography has gained exponential prominence in the relationship that architects have with society. The FG+SG studio has taken on the challenges presented by the greater media impact of architecture, which today constitutes a photographic practice rewarded with international prizes and recognition.
Earlier this month, the Norman Foster Foundation opened its doors in central Madrid. Inhabiting in an old residential palace, and having undergone extensive renovation works since, the Foundation have also constructed their own contemporary courtyard pavilion. Housing a treasure trove of artefacts from Lord Foster's personal collection, the structure—which is shaped like the wing of an aircraft—also exhibits a newly restored 1927 Avions Voisin C7 originally owned by Le Corbusier.
The Exhibition Hall of Crime Evidences in Harbin / Architectural Design & Research Institute of SCUT
ArchitectsArchitectural Design & Research Institute of SCUT
LocationHarbin, Heilongjiang Province, China
Principal ArchitectHe Jingtang
A new exhibition by OMA/AMO, lR100-Rinascente: Stories of Innovation, has officially opened in Milan’s Palazzo Reale. Marking the 100th anniversary of the classic Italian department store, la Rinascente, the exhibition commemorates the company’s long creative history and experimental spirit that has served as an influential part of Italian design, culture and commerce.
Once every two years architecture schools around the world are invited to submit their single, finest graduation project to the Archiprix International competition and exhibition. This year, the event selected Ahmedabad, in India, to exhibit the results. Here Arjen Oosterman, Editor-in-Chief of Volume, reviews the event and the work on display. You can read an interview with the Director of Archiprix, Henk van der Veen, here.
From its inception at the dawn of the millennium (2001), Archiprix International has proved to be an adventure with enormous ambition. To collect, once every two years, the very best graduation projects from architecture, landscape architecture, and urban design schools around the world is no small feat. To comprehensively exhibit this material is also a challenge, and to create a meaningful and productive event around the award session—giving center stage to the selected graduates and their projects—is a task akin to walking a tightrope. And yet, this is what they are achieving.
When Philip Johnson curated the Museum of Modern Arts’ (MoMA) 1932 “International Exhibition of Modern Architecture,” he did so with the explicit intention of defining the International Style. As a guest curator at the same institution in 1988 alongside Mark Wigley (now Dean Emeritus of the Columbia GSAPP), Johnson took the opposite approach: rather than present architecture derived from a rigidly uniform set of design principles, he gathered a collection of work by architects whose similar (but not identical) approaches had yielded similar results. The designers he selected—Peter Eisenman, Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi, and the firm Coop Himmelblau (led by Wolf Prix)—would prove to be some of the most influential architects of the late 20th Century to the present day.[1,2]
Following its official opening on October 5, 2016, the new MAAT building reopened to the public on March 22, 2017, with two major exhibitions that take up the whole building: Utopia/Dystopia – A Paradigm Shift, curated by Pedro Gadanho, João Laia and Susana Ventura – and Order and Progress by Mexican artist Héctor Zamora, curated by Inês Grosso.
The Bartlett School of Architecture, UCL, is celebrating the opening of its new building at 22 Gordon Street with an exhibition of work by visionary architect Sir Peter Cook. Running from 23 February to 10 March 2017, the exhibition marks Sir Peter’s 80th year with a celebration of 80 of his inspired and pioneering projects.
The Villa Croce Museum of Contemporary Art presents the first monographic exhibition on the work of Cesare Leonardi (Italian, b. 1935). In the course of a career spanning more than four decades Leonardi, an architect and photographer, has continuously challenged the boundary between design and artistic practice. In spite of the recognition gained by his early furniture design, most of Leonardi’s oeuvre has remained little known, even within Italy. Cesare Leonardi: Strutture, organised in close cooperation with Leonardi’s archive, sheds light on an intimate yet multifaceted body of work.
This article was originally published on Metropolis Magazine as "New Retrospective Glimpses the Man Behind the Maison de Verre."
Pierre Chareau was an architect whose buildings have almost all been demolished; an interior designer whose designs have all been remodeled; and a film set designer whose films you cannot see. These are not the most auspicious circumstances on which to mount a retrospective, but an ongoing exhibition at the Jewish Museum, imaginatively designed by Diller Scofidio + Renfro (DS+R), attempts it nonetheless.
Chareau, who is best known for his one surviving building, the Maison de Verre in Paris, defies neat classification. Without any sort of architectural training, he worked briefly as a furniture designer for a British firm then struck out on his own, creating an idiosyncratic corpus of furniture, interior designs for life and cinema, and even several homes.
Jordanian artist Raya Kassisieh, with the support of American firm NADAAA, has repurposed her exhibit from the Amman Design Week in Jordan to create blankets for Syrian refugees and Jordanian families. The Entrelac exhibit, created by Kassisieh and NADAAA, consists of 300kg of hand-knit, un-dyed wool which was later cut and stitched to create blankets for those fleeing the Syrian Civil War, now approaching its sixth year.
An exhibition that comprises of sketches of 20 internationally renowned architectural minds will be on display at Gallery 1AQ, a gallery in the foreshadow of the iconic Qutab Minar, an ancient Mughal monument from 3 - 21 February, 2017. Along with the exhibit, there will be interactive events over 3 weeks where design powerhouses from around the globe and across different platforms will be presenting. The same has been curated by the Verendra Wakhloo and Rachit Srivastava.
In the 1960s James Stirling asked Ludwig Mies van der Rohe why he didn’t design utopian visions for new societies, like those of Frank Lloyd Wright’s Broadacre City or Corbusier’s Cité Radieuse. Mies replied that he wasn’t interested in fantasies, but only in “making the existing city beautiful.” When Stirling recounted the conversation several decades later it was to the audience of a public enquiry convened in London – he was desperately trying to save Mies’ only UK design from being rejected in planning.
It couldn’t be done: the scheme went unbuilt; the drawings were buried in a private archive. Now, for the first time in more than thirty years, Mies’ Mansion House Square will be presented to the public in both a forthcoming exhibition at the Royal Institute of British Architects (RIBA)—Mies van der Rohe and James Stirling: Circling the Square—and, if it is successful, a book currently being funded through Kickstarter by the REAL foundation.
This week Phyllis Lambert, widely considered to be among the most influential figures in architecture, turned 90. Known primarily for founding the Canadian Centre for Architecture (CCA) in her hometown of Montrèal in 1979, she also acted as Director of Planning for the world-renowned Seagram Building in Manhattan (a tower commissioned by her family). The project is often cited as one of Mies van der Rohe's most important built works. As a practising architect, Lambert designed the Saidye Bronfman Centre (1967) – a performing arts center named after her mother.
In 1994, with the third millennium fast approaching, the British announced a national festival to mark the year 2000. Amid a new sense of optimism, the year-long festival, which became known as the Millennium Experience, would take the form of an exhibition celebrating “who we are, what we do, and where we live.” Under the project direction of Mike Davies, a partner of Richard Rogers’ practice (known today as RSHP) designed the Millennium Dome to house this exhibition.
In an extraordinary feat of architecture and engineering, the vast dome, whose canopy encompasses a volume of 2.2million cubic meters, sped from initial concept design to topping out in only two years. Although the Millennium Experience closed its doors as the year 2000, the building which housed it has since been put to a variety of uses, its durability largely due to Richard Rogers’ characteristically flexible design.
LocationChishui, Zunyi, Guizhou, China
Design TeamHaobo Wei, Jingsong Xie , Ke Zhou
Our experience of information is changing. We now consume more and more information digitally, with much of this being non-textual. Videos, photos and GIFs have become commonplace, with technology allowing these mediums to be as easily shareable as text. This gives way to another trend: the increase in the number and accessibility of online platforms. Not only is more information being digitized, but more dynamic ways of digitization are being developed; multimedia articles and online exhibitions, for example, hope to provide a more engaging way of sharing information.
The inaugural show at the new London Design Museum, Fear and Love, presents a collection of "reactions to a complex world." Featuring eleven specially-commissioned installations designed by the likes of OMA/AMO, Hussein Chalayan, Andrés Jaque and Metahaven, the spatial context which frames them is the work of Sam Jacob Studio.