On September 30, Mohsen Mostafavi will present David Adjaye with the W.E.B. Du Bois Medal, Harvard University’s highest honor in the field of African and African American studies, at the Hutchins Center Honors. Since 2000, the Du Bois Medal has been awarded to individuals from across the globe in recognition of their contributions to African and African-American history and culture. Adjaye is one of nine luminaries receiving this year’s award, including Oprah Winfrey and the late Maya Angelou. More information about the ceremony can be found here.
The following is a re-print from the newly relaunched Harvard Design Magazine. The new approach to the 17-year-old publication is the vision of recently appointed editor in chief Jennifer Sigler and associate editor Leah Whitman- Salkin, in collaboration with creative director Jiminie Ha (With Projects, Inc.). “Do You Read Me?” invites “reading” across disciplinary boundaries, and stakes out an expanded arena for architecture and design dialogue. In her Editor’s Note, Sigler explores “When Walls Are Doors.” Read on to find out how you can win a subscription to HDM.
My favorite book as a child was called Story Number 2. Written by the absurdist playwright Eugene Ionesco, it tells the tale of the logical Josette and her enigmatic father, who gives her a lesson in “the real meaning of words”:
“The ceiling is called floor. The floor is called ceiling. The wall is called a door,” Papa explains matter-of-factly.
“A chair is a window. The window is a penholder. A pillow is a piece of bread. Bread is a bedside rug.”
Fumihiko Maki, the Pritzker Prize laureate and 67th AIA Gold Medalist, turns 86 today. Widely considered to be one of Japan’s most distinguished living architects, Maki practices a unique style of Modernism that reflects his Japanese origin. Toshiko Mori has praised Maki’s ability to create “ineffable atmospheres” using a simple palette of various types of metal, concrete, and glass. His consistent integration and adoption of new methods of construction as part of his design language contribute to his personal quest to create “unforgettable scenes.”
Learning doesn’t necessarily need to be formal – or expensive for that matter. Thanks to the Internet and some generous benefactors, you can further your education for free from the comfort of your own home. Top schools such as MIT and Harvard University are affiliated with free online learning resources, allowing people from all over the globe to connect and audit courses at their own pace. In some cases, these services even provide self-educators with proof for having completed courses. Keep reading after the break to check out our round-up of four free online learning resources.
The Holcim Foundation has announced the global jury for the 2015 Holcim Awards, its triennial prize which encourages architects, planners, engineers, project owners and students to share their projects and visions that “go beyond conventional notions of sustainable construction.”
The 2015 prize is the Holcim Foundation’s fourth cycle, and this year will feature a total prize fund of $2 million – a significant increase on their 2012 prize fund of $300,000. To oversee the awards, they have recruited independent experts of international stature, including the Deans of the Harvard Graduate School of Design and ETH Zurich, and Alejandro Aravena of Chilean practice Elemental.
Read on after the break for the full list of jurors and more on the prize
For small firms, design competitions can often feel like a Catch22 - enter and lose precious time and resources (usually for nothing) or avoid them – at the risk of losing out on the “big break.” Now a new class at Harvard’s Graduate School of Design takes on just this quandary, as well as the many other practical, theoretical, and moral implications of architectural competitions for the profession. Learn more at this article at the Harvard Gazette.
“We encounter similarities and difference, but what we encounter more than anything else is how intensely all these seemingly stable elements are evolving in time. Sometimes with acceleration, sometimes with moments of stagnation, but actually they are constantly changing. So what seemed to be a look at the repertoire is actually turning into a look at how nothing is stable.” – Rem Koolhaas
The Harvard GSD has released a video from the Fall 2013 study abroad studio in Rotterdam, the Netherlands. The students who relocated to Rotterdam for last year’s fall semester worked on the “Elements of Architecture” exhibition that will open in the Central Pavilion during the 2014 International Architecture Exhibition in Venice, Italy. Watch Rem and the students reflect on their research, after the break…
Barcelona architect Jose Ahedo of Studio Ahedo has been selected over seven finalists and 200 applicants to receive the Harvard Graduate School of Design’s $100,000 Wheelwright Prize. The travel grant, now in its second year, was awarded to Ahedo for his proposal Domesticated Grounds: Design and Domesticity Within Animal Farming Systems, which focuses on the innumerable environmental and social challenges related to animal farming.
The jury lauded Ahedo’s proposal for “its integrated approach to a broad range of issues, and for his clarity in identifying architecture and design’s potential to shape more sustainable models of production for a global mega-industry.”
Seven architects have been shortlisted from nearly 200 international applicants for Harvard University Graduate School of Design’s 2014 Wheelwright Prize. The $100,000 grant, which is awarded annually to a single architect to support travel-based architectural research, is “intended to spur innovative research during the early stage of an architect’s professional career” and “foster new forms of research informed by cross-cultural engagement.”
Ranging from a Barcelona-based architect whose research proposal focuses on animal farming systems to a Croatian architect who wants to re-imagine the “border-scape” in Mediterranean countries, you can review all seven finalists after the break…
In the last two decades, the concept of urban metabolism, aiming to grasp the continuous processes of energy, material and population exchange within and between cities and their extensive hinterlands, has been subject of both extensive empirical research and, increasingly, critical discussion within the social and natural sciences. However, these interdisciplinary challenges have not yet been met with a synthetic response from the design disciplines.
The goals of this one-day conference are, through the lens of urban metabolism, to: generally reassess the planetary rescaling of contemporary urbanization processes; unpack the transformation of spatial forms and structures and subsequently, the emergence of new operative territories for design; explore the agency of design in confronting these challenges.
The conference is free and open to the public. For more information and complete schedule please click here.
Title: DDes Conference: Projective Views on Urban Metabolism
Organizers: Harvard University GSD
From: Fri, 07 Feb 2014 10:00
Until: Fri, 07 Feb 2014 12:30
Venue: Piper Auditorium, Gund Hall, Harvard University
Address: 48 Quincy Street, Harvard University, Cambridge, MA 02138, USA
UPDATE: This year’s jury for the Wheelwright Prize will be: Mohsen Mostafavi, Iñaki Ábalos, Sílvia Benedito, Pedro Gadanho, K. Michael Hays, Linda Pollak, Shohei Shigematsu, and Jorge Silvetti.
Launched in September 2013 by students at the Harvard Graduate School of Design, Open Letters is a print experiment that tests the epistolary form as a device for generating conversations about architecture and design. The project stems from an earnest curiosity about what people have to say to each other about architecture, landscapes, cities, ideas, history, practice, experience and learning.
New issues are released every other Friday, each presenting one open letter, i.e. a letter addressed to a particular party, but intended for publication, about any topic relating to the design disciplines. Past correspondents have written to mentors, chairs, trees, mystical creatures, those in need of advice and to NCARB. All issues can be read online.
A recent topic that has been receiving attention among architects is the issue of designing prisons. The increased awareness of the problem has been spearheaded by Raphael Sperry, founder of Architects/Designers/Planners for Social Responsibility, who has been campaigning to have the AIA forbid members from designing execution chambers or solitary confinement units. At the other end of the scale, Deanna VanBuren, a principle of FOURM Design Studio and a member of ADPSR herself, has championed ‘restorative justice’, an approach to the justice system which emphasizes rehabilitation and reconciliation in order to prevent people from re-offending.
Now Glen Santayana, a student at Harvard’s Graduate School of Design, has used his thesis project to add to this debate, designing PriSchool – a prison which both integrates with a school of criminology and is embedded within the community. Could this radical approach to prison design really be an answer to the stretched prison system in the US (and elsewhere)? Read on after the break to find out more.
When Kanye West spoke with students at my alma mater on Sunday evening, he said “I really do believe that the world can be saved through design, and everything needs to actually be ‘architected.’” In the social media frenzy that followed, a recurring response that I saw on architecture-centric sites was to snicker at West’s use of the word “architect” as a verb. For many, this was symbolic of West’s ignorance and hubris as he presumed to talk about something without knowing anything.
Except, of course, that “architect” is well recognized as a verb. Dictionaries say so, architects say so, and academics say so. If you’re architect Doug Patt and call yourself howtoarchitect on YouTube, you get a contract from MIT Press to write a book—called How to Architect. If you are the French philosopher Louis Marin, you can suggest that “the castle and gardens of Versailles ‘architect’ the Prince to make him not only the absolute of political power, but the center of the cosmos in its entirety,” and you will be counted among the most eminent semioticians of the twentieth century. If you are Harvard architecture theorist K. Michael Hays, you might stand up at an academic conference and say, “There are only certain things that can be done at this moment. Not just anything can be architected at this moment, right? There are limits.” When you do, people will nod and applaud.
But if you are Kanye West and you suggest that “everything needs to actually be ‘architected,’” it disqualifies you to speak about architecture.
UPDATE: The Harvard GSD AASU has released a statement on Kanye West’s invitation and visit, which you can find at the end of the post. Dean Mohsen Mostafavi, Dean of the GSD, has also commented on the visit.
Kanye West surprised students at the Harvard Graduate School of Design (GSD) last night by dropping in un-announced before his Sunday night concert at the TD Garden in Boston. He gave a short motivational speech to the crowd that quickly formed in the GSD’s signature “trays.” West told the students:
I just wanted to tell you guys: I really do believe that the world can be saved through design, and everything needs to actually be “architected.” [...] I believe that utopia is actually possible—but we’re led by the least noble, the least dignified, the least tasteful, the dumbest, and the most political. So in no way am I a politician—I’m usually at my best politically incorrect and very direct. I really appreciate you guys’ willingness to learn and hone your craft, and not be lazy about creation.
GSD student Sekou Cooke, writer of “Keep Talking Kanye: An Architect’s Defense of Kanye West,” confirmed to an ArchDaily editor that West had in fact seen his post defending West’s right to speak-up about architectural issues and act as a role model for young potential architects of color. Although his visit with the student body was unexpected, West had been invited by Harvard GSD’s African American Student Union (AASU). Following a meeting with the AASU’s core group of leaders—during which West led a conversation regarding under-represented minorities in the design disciplines—the star was inspired to briefly address the rest of the students. West also gifted 300 tickets to his show to the GSD. In fact, in an uncharacteristic moment of insecurity, West told the crowd of students:
Tonight, this show, if you come see it—um, I’m a bit self conscious because I’m showing it to architects. So the stage does have flaws in it. It’s an expression of emotion so give me a pass on that.
See images and video of West’s GSD visit, after the break…
ArchDaily got the chance to briefly speak with Pritzker-prize winning Portuguese architect Eduardo Souto de Moura when he (along with the Porto Metro Authority) received the Veronica Rudge Green Prize in Urban Design at the Harvard Graduate School of Design earlier this month. His design for the Metro system in Porto, Portugal garnered high praise from the jury, with member Rahul Mehrotra explaining that the project “shows generosity to the public realm unusual for contemporary infrastructure projects.” Upon receipt of the award, the head of the Porto Metro, João Velez Carvalho, thanked Souto de Moura for his efforts in this “urban revolution” and touted Porto as a destination in which people actively and enthusiastically seek out the architecture of Souto de Moura and fellow Portuguese architect Alvaro Siza.
Souto de Moura spent a few moments with us to describe both the challenges and rewards of working on a project that saw the completion of 60 new stations constructed in 10 years within the sensitive fabric of the city of Porto—a UNESCO World Heritage site.
ArchDaily: What is your opinion of architecture prizes?
Eduardo Souto de Moura: I won’t be modest, I like describing my opinion about them because the profession is so tough and difficult that is it complicated to achieve a high level of quality. So when you’re awarded a prize it’s like a confirmation of your effort. But the other thing is that a project is not the act of an individual, it’s a collective act. When there’s a prize, the press and the people, the “anonymous people,” go see the project and talk about it, critique it. That’s what gives me the motivation to continue in the profession. And every time it gets more difficult.