Now on view at London’s Architectural Association, Jan Kaplický Drawings presents work by the Czech architect Jan Kaplický (1937-2009) – a visionary designer with a passion for drawing as a means of discovering, describing and constructing. Through drawing he presented beguiling architectural imagery of the highest order.
The earliest projects date from the early 1970s when, for Kaplický, drawing was essentially a speculative pursuit. Whilst his days were spent working for other architects, during evenings and weekends he designed and drew at home. His architecture at this time was the plan and the finely detailed cross-section. Never satisfied, he constantly developed and honed his graphic language, perfecting the technique of the cutaway isometric which became his trademark.
A preview of Kaplický’s drawings, after the break.
The Netherlands Builds in Brick is one of the latest exhibitions at Rotterdam’s Nieuwe Instituut (formerly the NAi). It seeks to modify the “assumed triumph of Modernism” in the interwar period, drawing upon two photographic collections from the Institute’s extensive archives. The exhibition has been curated to highlight that brick remained the favoured construction material throughout the advocacy of the Modernist movement, even for experimental construction.
From March 13, Berlin’s Tchoban Foundation Museum for Architectural Drawing will showcase the work of acclaimed Russian artist and architect Alexander Brodsky in the eponymous exhibition “Alexander Brodsky. Works.”
Curated by Daria Paramonova, architect and co-curator of the Russian Pavilion at the 2014 Venice Biennale, the exhibition will feature a collection of Brodsky’s new and old work and run until June 5.
Learn more about the exhibition and view selected works on display after the break.
Yesterday afternoon, I was able to visit the University of Arkansas exhibition “Fay Jones and Frank Lloyd Wright: Organic Architecture Comes to Arkansas” – without purchasing a ticket or leaving my apartment. This extensive exhibition on the life and development of these two notable architects was made possible through a collaboration between University of Arkansas Libraries’ Special Collections and Crystal Bridges Museum of American Art Library and Archives. Exhibitions such as this are part of a broader movement in recent years towards making archived content more easily accessible to the public through web platforms. The concept of the online exhibition, however, is still in its infancy and there remains significant room for innovation.
URBAN TALES will showcase three distinct architectural artwork series exploring visions of narrative based city redevelopments. Featuring RIBA Presidents Medal-winning work, these original and engaging threads of imagery from UCL architecture graduates Ned Scott, Nick Elias and Anja Kempa objectify fiction and challenge political reality. The exhibitors question the role of architecture in a changing world and use fictional narratives to design fantastical, but possible, cities. URBAN TALES will kick off with an opening party on Friday, March 6 and remain on view through April 10, 2015 at Carousel London. Read on to learn more.
Lateral Office’s Arctic Adaptations exhibition, which was recognised with a Special Mention at the 2014 Venice Biennale, will travel make its debut in Canada at the Winnipeg Art Gallery this week before heading to Whitehouse, Vancouver, and Calgary. The exhibition “surveys a century of Arctic architecture, an urbanising present, and a projective near future of adaptive architecture in Nunavut” though interactive models, photography, and topographical maps of the twenty five communities of the area, as well as Inuit carvers’ scale models of some of the most recognised buildings in the territory. In addition, it proposes a future of adaptive and responsive architecture for Canada’s northern territories.
Between 1945 and 1981 around 170 million prefabricated (prefab) residential units were constructed worldwide. Now, as part of a study undertaken by Pedro Alonso and Hugo Palmarola of the Pontificia Universidad Católica de Chile between 2012 and 2014, an exhibition at the Tel Aviv Museum of Art features 28 large concrete panel systems from between 1931 and 1981. In so doing, it explores a transnational circulation of these objects of construction, ”weaving them into a historical collage of ambitions and short-lived enthusiasm for utopian dreams.”
This show, curated by Meira Yagid-Haimovici, is an attempt to reveal “how architecture and urbanism was charged with historical, social, and political narratives, and how the modernist vision promoted the fusion of aesthetics and politics.” The models, which are being exhibited as part of the Production Routes exhibition, seek to highlight the richness embodied in ‘generic’ architecture through the lens of prefab construction methods.
With the Charles Rennie Mackintosh retrospective opening today at the Royal Institute of British Architects in London Rowan Moore, writing for The Guardian, asks ”which architect could restore Mackintosh’s masterpiece [in Glasgow]?” The Glasgow School of Art, parts of which were devastated by fire in May of last year, is in the process of selecting a restoration architect from a shortlist of five. Yet for Moore ”there are examples of clumsiness and stodginess in some of the past projects of those included that should be allowed nowhere near the School of Art.”
From February 20 the Vitra Design Museum will host “Architecture of Independence – African Modernism,” an exhibition curated by architect and author Manuel Herz. Featuring numerous photographic contributions by Iwan Baan, “Architecture of Independence” explores the experimental and futuristic architecture produced in 1960s Central and Sub-Saharan Africa during the region’s period of newfound independence.
A new exhibition at the Harvard Graduate School of Design by Iñaki Ábalos and Renata Sentkiewicz (Ábalos+Sentkiewicz) will explore Dualisms in architecture: the notion that most historic architecture takes its “composite tension from two theoretically incompatible morphological organisations that correspond to different disciplines or languages.” Suggesting that these organisations can possess elements of “compatibility and incompatibility” simultaneously, the appearance of “a kind of hybrid ‘Frankenstein’s monster’” is characterized by dualism in architecture. For the curators, Dualisms act not only performatively, but also in a creative and composite way. “They are, at once, constraints and formative opportunities.”
In conjunction with “Contemplating Basics,” the 35th Aedes Architecture Forum’s exhibition of work by Beijing-based ZAO/standardarchitecture, Reframe presents an interview the firm’s founder, Zhang Ke, and Dr Eduard Kögel, an Urban Planner and critic from Berlin.
Since its establishment in 2001, ZAO/standardarchitecture has produced a diverse portfolio of projects responding to the specific nature and local culture of their sites, and mediating between traditional values and contemporary means of production. Keenly engaged with social issues, Ke recognises the importance of designing in a manner that is cognisant of broader context and bridges the gap between tradition and modernity.
“Every generation of course needs to go back to the original questions… ‘Okay, what architecture can grow out of this place in our time, and with our interaction with the local people and local techniques?’” he asks, “The results could be striking but the departure point is basic.”
ZAO/standardarchitecture has been responsible for large urban museums and small scale rural interventions alike, adopting in all cases this democratic approach to design.
“I learnt neither to look up nor to look down,” Ke said, “But to look straight in the eye, which means that you truly respect the culture.”
National libraries, often monumental in scale and “dominated by nationalistic ambitions and overwhelming architectural details,” will be the subject of a new exhibition opening later this month at the Harvard Graduate School of Design (GSD). Icons of Knowledge: Architecture and Symbolism in National Libraries seeks to examine why national libraries are amongst the most symbolic icons of modern day countries. Amidst the global milieu of the “rapid digitisation of print,” this exhibition aims to shed light on why nations are “vehemently investing resources in the construction of buildings that will project their cultural legacy and house the most precious treasures of their written history.”
MoMA’s largest-ever Latin American architecture exhibition will feature an official partnership with Instagram. The project invites the Instagram community to share their photos of buildings as part of the Latin America in Construction: Architecture 1955–1980 exhibition.
One of the year’s most awaited exhibitions, Latin America in Construction: Architecture 1955–1980 will display key architectural works for understanding modernism in Latin America, featuring remarkable buildings from all over the continent, designed by prominent architects like Oscar Niemeyer, Clorindo Testa, Luis Barragán, Vilanova Artigas and Eladio Dieste.
Circle the globe in 800-feet at the National Building Museum’s latest exhibition HOT TO COLD. BIG – Bjarke Ingels Group’s first North American exhibition, HOT TO COLD takes viewers on an “odyssey of architectural adaptation” from the “hottest to the coldest parts of our planet to explore how BIG’s designs are shaped by their cultural and climatic contexts.”
More than 60 architectural models of BIG’s most recent projects, including 20 premiering for the first time, are being suspended from the second floor of the museum’s historic Great Hall. Each project is interpreted through Iwan Baan‘s “masterful” photography, films by Ila Bêka and Louise Lemoine, and the Grammy Award-winning graphic artist Stefan Sagmeister’s design for the accompanying catalog by Taschen.
A word from Ingels, after the break.
BLUEPRINT is the latest exhibition on display at the Storefront for Art and Architecture in New York. Curated by Sebastiaan Bremer, Florian Idenburg and Jing Liu, the exhibition features 50 blueprints from participating artists and architects, ranging from as far back as 1961 to 2013.
Berlin’s Aedes Architecture Forum will mark the beginning of its 35th Anniversary Program by continuing its focus on Asia and China. With the architect Zhang KeofZAO/standardarchitecture from Beijing, Aedes presents one of the most promising protagonists of a young group of Chinese architects and urban planners with the exhibition 营造 Contemplating Basics. This follows on from the 2001 exhibition TU-MU, in which Aedes presented for the first time, and with global success, the first generation of independent architects in China. At that time, the architects and artists introduced in the exhibition – Yung Ho Chang, Liu Jiarkun, Ai Wei Wei, Wang Shu, Lu Wenyu – were fully unknown in the West, while some have since gone on to become Pritzker Prize winners or internationally renowned artists.
The Royal Institute of British Architects (RIBA) have announced that a new exhibition exploring the Scottish designer and artist’s celebrated, but difficult, career is to open next month in London. Mackintosh Architecture will be the first exhibition solely devoted to his architecture, offering the opportunity to view over sixty original drawings, watercolours and perspectives spanning the entirety of his working life. Seen together, they “reveal the evolution of his style from his early apprenticeship to his later projects as an individual architect and designer.” Drawings on display will also show his collaboration with the accomplished artist and designer Margaret Macdonald, his wife.
Drawing inspiration from Steven Holl and William Stout’s brainchild Pamphlet Architecture, a new collaborative project, Treatise: Why Write Alone?, unifies fourteen design firms to examine the architectural treatise as a method of exploring theoretical questions and sparking discussion. The project was developed by designer Jimenez Lai of Bureau Spectacular in response to receiving a grant from the Graham Foundation. His unconventional ideas on the architectural process made him wonder, “Why write? And, why write alone?” The resultant collection of publications delves into these questions, both collectively and individually, with a collaborative piece as well as submissions from each firm.