Our editors look at hundreds of websites per week. What do they admire and appreciate the most? Organization and simplicity. Sites that are not only clean, but fast. We actively search for projects to include on our platform, so it’s crucial that when we visit a website we not only know where to look, but how to access information. Filters and facets are our best friends. Typological differentiation is important, but perhaps not as important as distinguishing between built and un-built projects (“Is that a render?” is a question that comes up at least once a day).
Earlier this summer, the Vitra Schaudepot on the Vitra Campus was officially opened. The latest in a string of structures designed by emerging and well-known architects, this gallery space is the second building by Swiss-practice Herzog & de Meuron. Conceived as "a visible storage facility" presenting a cross-section of the Vitra Design Museum's extensive collection of furniture and lighting, over 400 objects will provide "a comprehensive introduction to the history of furniture design." Featuring a café, shop and a new entrance for visitors to the museum, the building is also able to host temporary exhibitions. Photographer Laurian Ghinitoiu has turned his lens to this latest addition in Weil am Rhein.
For Paul Lewis, Marc Tsurumaki and David J. Lewis, the section “is often understood as a reductive drawing type, produced at the end of the design process to depict structural and material conditions in service of the construction contract.” A definition that will be familiar to most of those who have studied or worked in architecture at some point. We often think primarily of the plan, for it allows us to embrace the programmatic expectations of a project and provide a summary of the various functions required. In the modern age, digital modelling software programs offer ever more possibilities when it comes to creating complex three dimensional objects, making the section even more of an afterthought.
With their Manual of Section, the three founding partners of LTL architects engage with section as an essential tool of architectural design, and let’s admit it, this reading might change your mind on the topic. For the co-authors, “thinking and designing through section requires the building of a discourse about section, recognizing it as a site of intervention.” Perhaps, indeed, we need to understand the capabilities of section drawings both to use them more efficiently and to enjoy doing so.
Kerez, Herzog & de Meuron and Studio Gang Shortlisted to Design London's Royal College of Art's Battersea Campus
London's Royal College of Art (RCA) have revealed seven invited shortlisted practices for its new state-of-the-art £108million Battersea South campus. Featuring a smattering of architects from Europe, including Herzog & de Meuron and Lacaton & Vassal, and from the USA, such as Diller Scofidio + Renfro and Studio Gang, the organisation intends to announce the winning scheme in October 2016.
After years of waiting, Herzog & de Meuron’s Elbphilharmonie concert hall in Hamburg, Germany, finally has been given an opening date. The building will open its doors to the public with grand opening concerts by NDR Elbphilharmonie Orchestra on January 11 and 12, 2017, followed by a three-week festival featuring the Chicago Symphony Orchestra, the Vienna Philharmonic Orchestra and the Berlin-based band Einstürzende Neubauten.
The soaring glass structure, constructed on top of a historic warehouse along the River Elbe, was first envisioned in 2003, but rising costs and legal issues with the contractor led the project to be put on hold.
Architects in the United Kingdom have been subjected to a month of monumental highs and lows. After Herzog & de Meuron’s Tate Modern extension (known as Switch House) opened Friday, June 17, the following Thursday, June 23, the country proclaimed its (ill-planned) desire to leave the European Union. It would be easy to see the two events as separate, with no obvious overlap. But in fact the Tate seems to have an odd symbiosis with the Brexit decision - if in no other way than by promoting a vision emphatically against it.
Lasting for close to two decades now, the annual Serpentine Gallery Pavilion Exhibition has become one of the most anticipated architectural events in London and for the global architecture community. With this year’s edition featuring not just one pavilion but four additional “summer houses,” the program shows no sign of slowing down. Each of the previous sixteen pavilions have been thought-provoking, leaving an indelible mark and strong message to the architectural community. And even though each of the past pavilions are removed from the site after their short summer stints to occupy far-flung private estates, they continue to be shared through photographs, and in architectural lectures. With the launch of the 16th Pavilion this month, we take a look back at all the previous pavilions and their significance to the architecturally-minded public.
London's Tate Modern just got bigger. Last week, the well-known modern art museum opened its new extension to the public. The so-called “Switch House” was designed by Swiss architects Herzog & de Meuron, the same firm that designed the successful rehabilitation of the original Giles Gilbert Scott’s Bankside Power Station in 2000.
The museum could not be more satisfied: “It’s a dream,” says Tate Modern’s new director Frances Morris, “We’ve never had such an open space before. The possibilities are endless.” While critics generally approved of the design, they expressed mixed feelings for the addition’s materiality and urban character. Read on to find out more about the views of Frieze Magazine’s Douglas Murphy, The Evening Standard’s Robert Bevan, The Guardian’s Rowan Moore, and The Financial Times’ Edwin Heathcote.
Located at 15 East and 75th Street, the project entails combining three separate townhomes -- two Queen Anne-style, and one Neo-Federal -- into one large home for Russian billionaire Roman Abramovich.
Herzog & de Meuron's ten-storey extension to London's Tate Modern, which officially opens to the public this week, is the latest in a series of ambitious building projects pursued by the internally renowned gallery of contemporary art. Sitting above The Tanks, the world's first dedicated galleries for live art and film installations, the building's pyramidical form provides 60% more exhibition space for the institution. Two days before its doors welcome art-lovers from around the world, photographer Laurian Ghinitoiu has captured a collection of unique views on this highly anticipated addition to London's skyline.
Led by Jacques Herzog (born 19 April 1950) and Pierre de Meuron (born 8 May 1950), most descriptions of Herzog & de Meuron projects are almost paradoxical: in one paragraph they will be praised for their dedication to tradition and vernacular forms, in the next for their thoroughly modern innovation. However, in the hands of Herzog & de Meuron this is no paradox, as the internationally-renowned architectural duo combine tradition and innovation in such a way that the two elements actually enhance each other.
Herzog & de Meuron have released new images of their design for National Library of Israel. Located on a prominent site in West Jerusalem, the National Library is at the base of the Knesset (Israel’s parliament) and adjacent to the Israel Museum, Science Museum and Hebrew University.
The London School of Economics (LSE) and RIBA have revealed the six shortlisted proposals for their next major development: 44 Lincoln’s Inn Fields/The Paul Marshall. With designs from David Chipperfield, Diller Scofidio + Renfro with Penoyre & Prasad and Herzog & de Meuron, LSE is hoping their new building's "world-class architecture" will appropriately reflect the university's "global academic reputation." AL_A, Grafton Architects, and Niall McLaughlin with Scott Brownrigg complete the shortlist.
“The amount of analysis and intellectual effort that has gone into the designs from each team is staggering and the results are impressive and very exciting. Given its size and prime location on Lincoln’s Inn Fields we want this to be a seminal university building; its legacy will endure for many generations so it is vital that we make the right decision,” said Julian Robinson, LSE’s Director of Estates.
All six schemes are being publicly exhibited at the LSE's Saw Swee Hock Student Centre through March 17. Read on for a glimpse of each.
Last week, ArchDaily unveiled the 14 winners of this year’s Building of the Year award. Selected by ArchDaily readers from a pool of over 3,000 candidates, these 14 projects represent the best designs published by ArchDaily in the past year, as determined by an unbiased network of 55,000 voters who took part - each of them a judge in one of the world's most democratic architecture awards.
Representing a diverse field of architects, locations and project types, each design has a very different story about how it came into being, how its design responds to its context, how it fits into an architect's oeuvre, or what it says about the direction which architecture is traveling in. But despite the many different types of story represented, each of the stories behind the Building of the Year winners is a fascinating architectural tale. Here are those 14 stories.
“Concrete has the ability to be primitive and technological, massive and levitating, to combine the properties of steel with those of mud,” says Rowan Moore in his list of The 10 best concrete buildings created for The Guardian. Through examples spanning three continents, Moore unites old standbys with unexpected wonders, all of which show the varied possibilities inherent in mixing water, aggregate, and cement. In a list that incorporates examples from Classical times to the present, Moore establishes concrete’s unique ability to adapt to different times, styles, applications, and treatments.
Examples by Le Corbusier, Álvaro Siza, Lina Bo Bardi, and Marcel Breuer demonstrate that concrete is anything but workaday or utilitarian. Moore’s list affirms that a material simultaneously strong and light, durable, sustainable, and fire-resistant, can scarcely be considered anything short of miraculous. Of course, ten buildings can only provide an abridged version of concrete’s possibilities, and Moore cheekily apologizes for some of the obvious omissions. Check out the full list here.
After two weeks of nominations and voting, we are pleased to present the winners of the 2016 ArchDaily Building of the Year Awards. As a peer-based, crowdsourced architecture award, the results shown here represent the collective intelligence of 55,000 voters, filtering the best architecture from over 3,000 projects featured on ArchDaily during the past year.
As is so often the case with the Building of the Year award, the list of winners represents great diversity. It features two Pritzker Prize winners, Renzo Piano and Herzog & de Meuron (the first practice to ever receive two Building of the Year awards in the same year), but also small, young practices such as Tim Greatrex and Elisabete de Oliveira Saldanha. The buildings which garnered these prizes also range in effect: from the tremendous poise demonstrated by projects such as NAP Architects' Ribbon Chapel and MAD's Harbin Opera House to the rustic charms of Terra e Tuma Arquitetos' Vila Matilde House or Sharon Davis Design's Partners In Health Dormitory.
By publishing them on ArchDaily, these exemplary buildings have helped us to impart inspiration and knowledge to architects around the world, furthering our mission. So to everyone who participated by either nominating or voting for a shortlisted project, thank you for being a part of this amazing process, where the voices of architects from all over the world unite to form one strong, intelligent, forward-thinking message.
And of course, congratulations to all the winners!
Following the announcement earlier this year that Herzog & de Meuron were developing designs for a new £500million stadium for Chelsea Football Club, the Swiss practice have released a series of official images which narrate the project's design intentions and contextual implications. The new stadium, which will be built in place of the football club's existing stadium at Stamford Bridge, will contain a "three-tier, four-stand, bowl with a capacity of 60,000 supporters" (compared to the current 41,837 capacity) and have around 60,000sqm of facilities housed within its ribbed shell.
The London School of Economics (LSE), working alongside the RIBA, has announced six teams in the running to design their latest high-profile building project: the £100 million redevelopment of 44 Lincoln's Inn Fields, which once complete will be known as the Paul Marshall Building. As the third of the LSE's recent run of major campus transformations, the Paul Marshall Building will follow in the footsteps of Rogers Stirk Harbour + Partners' “Center Building Redevelopment” which received planning permission earlier this year and O'Donnell + Tuomey's highly-acclaimed Saw Swee Hock Student Centre, which was shortlisted for the 2014 Stirling Prize. Read on to see the full shortlist.