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.
ArchDaily recently spoke to Ben van Berkel, co-founder and principal architect at UNStudio, an international network of specialists in architecture, urban development and infrastructure based in the Netherlands. The office, which was founded in 1988, has completed projects around the world ranging from Rotterdam’s Erasmus Bridge to the Mercedes-Benz Museum in Stuttgart. With over 81 built projects, and 54 currently in progress (including Raffles City in Hangzhou and Scotts Tower in Singapore), London’s Canaletto Tower (which is due to be completed in 2015) marks the practice’s first major project in the UK.
In Design Intelligence's annual rankings of US Architecture Schools, released earlier this month, there is certainly a lot to talk about. Of course, plenty will be said about what is shown immediately by the statistics, and rightly so - but just as interesting is what is revealed between the lines of this report, about the schools themselves and the culture they exist within. By taking the opinions of professional architects, teachers and students, the Design Intelligence report exposes a complex network which, when examined closely enough, reveals what some might see as a worrying trend within architectural education.
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...
The list of architects that have collaborated with Zhang Xin’s development company, SOHO China, reads like the roster of an architectural dream team (which includes Zaha Hadid, Yung Ho Chang, Bjarke Ingels, Kengo Kuma, Kazuyo Sejima, Herzog & de Meuron, Thom Mayne, David Adjaye, Toyo Ito and others). So it’s no surprise that the self-made billionaire lectured to a packed house at Harvard University’s Graduate School of Design last Thursday. Xin spoke about her commitment to and love of design, explaining that her company’s mission is to bring a variety of architectural languages to China. And though SOHO’s projects are certainly experimental, Xin contends that her developer mindset actually helps meliorate the architect’s propensity to take the experiment too far—all without sacrificing the impressive and iconic forms of SOHO’s building portfolio.
WatchZhang Xin link her practice in real estate to larger global issues and catch a glimpse of two Zaha Hadid-designs currently under construction: Wangjing SOHO and Sky SOHO.
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.
Who should design public spaces? Should they even be designed at all? Can public space make a meaningful contribution to solving the world’s environmental problems? How should the success of a public space be measured?
I first learned about Preston Scott Cohen’s work when I read about the Goodman House, a simple and elegant operation of a concrete shell housing an ancient Dutch barn frame. But after further investigation, I was surprised to see a constant spatial and formal research of his work, that we have witnessed in the latest three public buildings from his office and featured on ArchDaily.
Our profession is very particular. We react very fast to current issues with our ideas, yet our buildings can take quite some time to be erected. For example, the project of the Shenzhen Stock Exchange building by OMA in China was the physical image of the new Chinese economy back in 2006. Five years later this new economy has taken the world by storm yet the building is still under construction.
Through May 17th, Tomas Saraceno’s ‘Cloud City’ at the Carpenter City is one of three major works of the Harvard University Graduate School of Design exhibition, The Divine Comedy. The Divine Comedy is an “exploration of the emerging domain of experimental spatial practice where the concerns of art, design, and activism are powerfully converging today.”
Olafur Eliasson’s ‘Three to Now’ is part of the Harvard University Graduate School of Design exhibition, The Divine Comedy. On display at Gund Hall through May 17th this major work is a piece of an “exploration of the emerging domain of experimental spatial practice where the concerns of art, design, and activism are powerfully converging today.”
Running through May 17th at the Northwest Labs, the much anticipated Harvard University Graduate School of Design exhibition, The Divine Comedy, features major works including Ai Weiwei’s ‘Untitled’. The Divine Comedy exhibition is an “exploration of the emerging domain of experimental spatial practice where the concerns of art, design, and activism are powerfully converging today.”
In recognition of his contributions to architecture in both theory and practice Fumihiko Maki was recently named the 2011 AIA Gold Medal Winner. Maki, arguably one of Japan’s most distinguished living architects, will be honored with the award in New Orleans at the AIA National Convention.
