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.
Through January 31, The Building Centre is hosting Upright and Educated, a photographic exhibition documenting the work of UK charitable organization Article 25 in Burkina Faso. Captured by award-winning photographer Grant Smith, the images chart the construction and use of a school in Gourcy, in the country’s north.
Founded in 2006, Article 25 worked with local builders, craftspeople, and fellow UK charity Giving Africa to construct Bethel Secondary School, allowing up to 1100 children access to enhanced education and vocational training facilities. Learn more about the project and view selected images from the exhibition after the break.
In the wake of her selection as the recipient of the Julius Shulman Institute Excellence in Photography Award for 2015, Hélène Binet‘s work will be exhibited at the Woodbury University Hollywood (WUHO) Gallery in Los Angeles, California. The exhibition, entitled Hélène Binet: Fragments of Light, will be open from February 28, 2015 to March 29, 2015, showcasing the highlights of the artist’s career as a renowned architectural photographer. The exhibition will be initiated with an opening reception and award ceremony on February 28, 2015 to honor Binet for her achievements.
Starting January 29th, Munich‘s Haus der Kunst will host “Form, Heft, Material,” a major retrospective of the work of British architect David Adjaye. Co-curated by Okwui Enwezor and Zoe Ryan, the exhibition’s broad catalogue reflects Adjaye’s diverse career and portfolio, including architectural projects alongside material experiments, research, and furniture design. Through sketches, models, prints, drawings, 1:1 building fragments, film, and text, “Form, Heft, Material” foregrounds Adjaye’s work against the rich geographical and social context that frames his design approach.
“The exhibition shows my work within the framework of a wider cultural and socio-political trajectory,” Adjaye said. “It marks an important moment in my career, as I increasingly seek to find ever new architectural scenarios for our fast-changing world, that nonetheless resonate with the powerful narratives of history, climate, culture and place.” “Form, Heft, Material” will be on display until May 31.
Title: David Adjaye: Form Heft Material
Organizers: Haus der Kunst
From: Thu, 29 Jan 2015 10:00
Until: Sun, 31 May 2015 20:00
Venue: Haus der Kunst
Address: Haus der Kunst, Prinzregentenstraße 1, 80538 München, Germany
Modern times have seen the rise and proliferation of architectural media, allowing people to remotely experience spaces and buildings without ever physically entering them. As such, the importance of the architectural image has never been greater.
Opening on January 15 at London’s Sto Werkstatt and organized in conjunction with Arcaid Images, Building Images celebrates the “power and impact of photography on the way we sense and experience spaces.” Described by Arcaid Images co-founder Lynne Bryant as having “long been the means of communicating architecture,” photography is a medium that has grown inseparable from the notion and creation of the architectural image. Learn more and view selected images from the exhibition, after the break.
A new exhibition and accompanying digital documentary on Cedric Price, a British architect, writer and educator who had a formative influence on architects such as Renzo Piano, Richard Rogers, and Bernard Tschumi, is open in The Netherlands. The exhibition, curated by members of Bureau Europa, introduces the work of Price by “presenting a cross-section of the elements of his inventive and singular practice” through sketches, project drawings, recorded talks, and first-hand accounts by staff, colleagues and friends. In addition, a series of selected projects present his “innovative models for industry, education, government, tourism, ecology and the house.”
Although his name may not appear in most architectural history books, Sir Kenneth Hugo Adam has influenced architecture for over fifty years. Better known as Ken Adam, he has been responsible for the production design of over 70 films in his career, most notably for his work on the James Bond franchise. The architect of Fort Knox in Goldfinger, the Zero Gravity Satellite in Moonraker, and Super-Tanker Liparus in The Spy Who Loved Me, Adam has shaped architectural design in film since the 1940s.
Adam is the recipient of two British Film Academy Awards, including one for Dr. Strangelove, and in 2003 became the first film production designer to receive a knighthood. He has been at the helm of some of the world’s most well-known and influential films – from Chitty Chitty Bang Bang to Crimes of the Heart – and his drawings are now on display for the first time. In 2012, Sir Adam donated his entire body of work to the Deutsche Kinemathek in his home city of Berlin, where the first retrospective of his work is now on display, entitled ‘Bigger Than Life: Ken Adam’s Film Design.’
Find out more about Adam’s vast body of work after the break
On the surface, Mies van der Rohe‘s minimalist linear designs have little in common with the kitsch of vernacular architecture in the German countryside. Enter Joachim Brohm, who rose to prominence in the 1980s as one of the first European architecture photographers to work in colour, and now in a current exhibition draws an unexpected parallel between van der Rohe’s designs for the unrealized Krefeld Golf Club in Germany and the rudimentary constructions of vernacular post-war architecture.
In “Vernacular & Modern,” the latest exhibition at London‘s Grimaldi Gavin gallery, two of Brohm’s photo series are juxtaposed to create a new narrative on architectural context. In Typology 1979, Brohm documents a series of vernacular houses in Ruhr, Germany; while in Mies Model Study, Brohm enters the temporary installation of van der Rohe’s unbuilt golf club through a life-size model. Together, the two series contrast the highly aestheticized minimalist world of Mies van der Rohe with highly functional buildings of necessity in the German countryside.
Find the connection between vernacular and van der Rohe after the break
Jean Prouvé’s Demountable House, a rare early example of a prefabricated housing concept, was fully assembled and on display to the public last week at Art Basel Miami 2014, just in time for the design’s 70th birthday. The display was part of Swiss luxury brand Bally’s tour of the original 1944 structure, with its next and final stop scheduled for Design Shanghai in 2015. This fascinating time lapse video reveals the full construction process and gives us an inside look into how each component of the house comes together, from the floor boards to the structure of the roof, to the final exterior cladding. Check out the video above to see Prouvé’s structure come together, or see images below of the completed structure.
The Royal Institute of British Architects (RIBA) has announced a major retrospective of the work of celebrated Scottish architect Charles Rennie Mackintosh, with an exhibition to be held at the RIBA’s Headquarters in London from February to May 2015. Having shown talent as a draughtsman from a young age, Mackintosh started his architectural apprenticeship at the age of just 16, and the exhibition features over 60 original drawings, watercolours and perspectives spanning his entire career from the late 19th century until his death in 1928.
Read on after the break for more on the contents of the exhibition
Eugène Viollet-le-Duc, the French architect most famous for the ‘restoration’ of Notre-Dame de Paris, is a person we unequivocally associate with 19th century Gothic Revival. Although there is no doubt that his interpretive restorations of medieval French monuments were some of his greatest achievements, a new exhibition at Paris’ Cité de l’architecture et du patrimoine seeks to uncover a “well-connected character who pursued an uninterrupted career drawing, building, teaching, restoring, and many other things.”
In a review for Domus, Léa-Catherine Szacka examines this first major retrospective dedicated to the designer, theorist and artist since 1980 in celebration of the bicentennial of his birth. According to Szacka curator Jean-Michel Leniaud has, in this exhibition, shifted focus to Viollet-le-Duc’s artistic output, thereby presenting “the less known and the more unexpected aspect” of his career.
In the wake of the global financial crisis, banking scandals and government bailouts have made countless news headlines around the world. With such large sums of taxpayer money being funneled to the troubled financial sector, ordinary individuals are left to wonder how it will affect their own lives. But how can an entire country rise up and make their voices heard when it is nearly impossible to understand the magnitude of such an injustice? In Austria, a group of innovative students from the Technical University of Vienna set out to answer this question and have taken to a new form of protest in order to make the consequences of one Europe’s largest financial scandals in recent history a tangible reality.
To demonstrate the €19 billion price tag of Austria’s recent bailout of Hypo-Alpe-Adria, students designed and built a scale model of a fictional city called “Hypotopia,” a portmanteau of the bank’s name and “utopia.” According to Lukas Zeilbauer, “while utopia stands for an ideal fictitious world, ‘hypo’ is a Greek word meaning under, beneath or bellow – so a change coming from the bottom, from the folk.” Embodying an idealistic society with plentiful renewable resources and public education for people of all ages, the model city would theoretically contain 102,574 inhabitants, making it the sixth largest city in Austria.
Read on after the break to find out how an architecture model has drawn international attention and propelled an entire country to take action.
Drawings have long been used as a method for architects to represent their projects. However, architects sometimes make drawings to communicate a sense of space in a deeper and more meaningful way – in a manner that begins to venture into the realm of art. A new exhibition opening at London‘s V&A Museum this Saturday entitled Architects as Artists examines the overlapping relationship between architecture and art, and documents the many ways in which it is used and created.
Marking the second edition of Design Shanghai, this year’s exhibition will take place March 2015 and will include over 300 exhibitors across three halls; Contemporary Design, Classic Design, and Collectible Design. Featured among the confirmed installations is Jean Prouvé’s Demountable House, a rare early example of prefabricated housing.
French architect Jean Prouvé is regarded as one of the twentieth century’s most influential designers, and is known for combining bold elegance with economy of means in a socially conscious manner. He is also recognized for his manufacturing firm, Les Ateliers Jean Prouvé, where he designed and produced lightweight metal furniture in collaboration with some of the most well known designers of the time. One such designer was Pierre Jeanneret, a Swiss architect and furniture designer who often worked with his more famous cousin, Le Corbusier.
Read on after the break to learn more about this year’s featured exhibition.
BSA Space, home to the Boston Society of Architects and the BSA Foundation, is currently accepting proposals from all designers interested in becoming a guest curator. The selected curator would be responsible for conceiving, fabricating, executing, and installing all aspects of a major exhibit within the BSA’s 5,000 square foot gallery space. Proposals should take into consideration a diverse audience and seek to capture the imagination of the public by conveying the power of design as an instrument of change within Boston. All major exhibitions will run four to six months and guest curators will receive a budget of $30-70K. The deadline for submissions is Friday, November 14 at 4:00PM. More details can be found, here.