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10 Hard-To-Reach Masterpieces And How To Get There

08:00 - 23 July, 2017
10 Hard-To-Reach Masterpieces And How To Get There

Visiting architectural masterpieces by the greats can often feel like a pilgrimage of sorts, especially when they are far away and hard to find. Not everyone takes the time to visit these buildings when traveling, which makes getting there all the more special. With weird opening hours, hard-to-reach locations and elusive tours we thought we’d show a selection from our archives of masterpieces (modernist to contemporary) and what it takes to make it through their doors. Don’t forget your camera! 

© Samuel Ludwig © Wikimedia User  "Mies me" © Gili Merin © architectenwerk.nl +11

The Norman Foster Foundation's Wing-Shaped Pavilion Provides a Home for Le Corbusier's Car

07:00 - 21 June, 2017
The Norman Foster Foundation's Wing-Shaped Pavilion Provides a Home for Le Corbusier's Car, © Guillermo Rodríguez
© Guillermo Rodríguez

Earlier this month, the Norman Foster Foundation opened its doors in central Madrid. Inhabiting in an old residential palace, and having undergone extensive renovation works since, the Foundation have also constructed their own contemporary courtyard pavilion. Housing a treasure trove of artefacts from Lord Foster's personal collection, the structure—which is shaped like the wing of an aircraft—also exhibits a newly restored 1927 Avions Voisin C7 originally owned by Le Corbusier.

© Guillermo Rodríguez © Guillermo Rodríguez © Guillermo Rodríguez © Guillermo Rodríguez +13

9 Incredibly Famous Architects Who Didn't Possess an Architecture Degree

09:30 - 19 June, 2017

Had the worst jury ever? Failed your exams? Worry not! Before you fall on your bed and cry yourself to sleep—after posting a cute, frantic-looking selfie on Instagram, of course (hashtag so dead)—take a look at this list of nine celebrated architects, all of whom share a common trait. You might think that a shiny architecture degree is a requirement to be a successful architect; why else would you put yourself through so many years of architecture school? Well, while the title of "architect" may be protected in many countries, that doesn't mean you can't design amazing architecture—as demonstrated by these nine architects, who threw convention to the wind and took the road less traveled to architectural fame.

13 Buildings That Have Aged Magnificently

09:30 - 5 June, 2017
13 Buildings That Have Aged Magnificently

Humanity always cherishes great works of art that stand the test of time. This June, for example, marks the 50th anniversary of The Beatles’ psychedelic Sgt. Pepper's Lonely Hearts Club Band, and the 20th anniversary of Radiohead’s dystopian Ok Computer. These psychologically satisfying birthdays have generated serious appreciation and nostalgia. Similarly, we also love to praise the longevity of innovative architecture. The AIA bestows an annual “Twenty-five Year Award” to acknowledge projects that have "stood the test of time” and “exemplify design of enduring significance.” But one project a year seems stingy. Below are 15 modern classics which, though not always given the easiest start in life, we’ve come to adore:

© <a href='https://www.flickr.com/photos/leandrociuffo/3665886505'>Flickr user Leandro Neumann Ciuffo</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/deed.en'>CC BY 2.0</a> © <a href='https://www.flickr.com/photos/aseles/6149740236'>Flickr user Andrew Seles</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> © <a href='https://www.flickr.com/photos/g_firkser/6233067891'>Flickr user Gavin Firkser</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/deed.en'>CC BY 2.0</a> © <a href='https://commons.wikimedia.org/wiki/File:Bank-of-china_clean-img-sma.jpg'>Wikimedia user LERA Engineering</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> +14

Inside the Bizarre Personal Lives of Famous Architects

09:30 - 29 May, 2017
Inside the Bizarre Personal Lives of Famous Architects, From left: © Robert C. Lautman; <a href='http://https://commons.wikimedia.org/wiki/File:Alvar_Aalto1.jpg'>via Wikimedia</a> (public domain); Photograph by Al Ravenna <a href='http://https://commons.wikimedia.org/wiki/File:Frank_Lloyd_Wright_portrait.jpg'>via Wikimedia</a> (public domain)
From left: © Robert C. Lautman; via Wikimedia (public domain); Photograph by Al Ravenna via Wikimedia (public domain)

Famous architects are often seen as more enigma than person, but behind even the biggest names hide the scandals and tragedies of everyday life. As celebrities of a sort, many of the world's most famed architects have faced rumors and to this day there are questions about the truth of their private affairs. Clients and others in their studios would get a glimpse into an architect’s personal life, but sometimes the sheer force of personality that often comes with creative genius would prevent much insight. The fact remains, however, that these architects’ lives were more than the sum of their buildings.

When Frank Lloyd Wright and Le Corbusier Had a Public Argument in The New York Times

09:30 - 26 May, 2017
When Frank Lloyd Wright and Le Corbusier Had a Public Argument in The New York Times, Left: Frank Lloyd Wright photographed by Al Ravenna. Image <a href='https://commons.wikimedia.org/wiki/File:Frank_Lloyd_Wright_portrait.jpg'>via Wikimedia</a> in Public Domain. Right: Le Corbusier. Image © Willy Rizzo
Left: Frank Lloyd Wright photographed by Al Ravenna. Image via Wikimedia in Public Domain. Right: Le Corbusier. Image © Willy Rizzo

Frank Lloyd Wright and Le Corbusier are both architects who were known for their grand and innovative ideas—as well as for their high esteem for their own opinions. The two did not, however, see eye to eye in their visions for the future of American cities and civilization. Both architects had utopian, all-encompassing plans for their ideal American city, combining social as well as architectural ideas. In 1932, both described these ideas in The New York Times; in these two articles Frank Lloyd Wright and Le Corbusier made their differing beliefs perfectly clear to the public.

How to Pronounce the Names of 22 Notable Architects

09:30 - 17 April, 2017
How to Pronounce the Names of 22 Notable Architects

There’s no doubt that one of the best things about architecture is its universality. Wherever you come from, whatever you do, however you speak, architecture has somehow touched your life. However, when one unexpectedly has to pronounce a foreign architect’s name... things can get a little tricky. This is especially the case when mispronunciation could end up making you look less knowledgeable than you really are. (If you're really unlucky, it could end up making you look stupid in front of your children and the whole world.)

To help you out, we’ve compiled a list of 22 architects with names that are a little difficult to pronounce, and paired them with a recording in which their names are said impeccably. Listen and repeat as many times as it takes to get it right, and you’ll be prepared for any intellectual architectural conversation that comes your way. 

10 Essential Freehand Drawing Exercises for Architects

08:00 - 22 March, 2017
Courtesy of DOM Publishers
Courtesy of DOM Publishers

The following excerpt was originally published in Natascha Meuser's Construction and Design Manual: Architecture Drawings (DOM Publishers). With our industry's technological advances, "the designing architect is not simultaneously the drawing architect." Meuser's manual aims to help architects develop and hone their technical drawing skills as the "practical basis and form of communication for architects, artists, and engineers." Read on for ten freehand drawing exercises that tackle issues ranging from proportion and order to perspective and space. 

What is beauty? A few years ago, a group of international researchers sought to unravel the mysteries of human beauty. They used state-of-the-art, totally impartial computer technology and a huge dataset to establish once and for all why particular faces are perceived as beautiful, and whether beauty exists independently of ethnic, social and cultural background; in other words, whether it can be calculated mathematically. The scientists input countless photos of faces from all over the world, each described by survey respondents as particularly beautiful, into a powerful computer. The resulting information, they believed, could be used to generate a face that would be recognized by any human being as possessing absolute beauty. But what the computer eventually spat out was a picture of an ordinary face, neither beautiful nor ugly, devoid of both life and character. It left most viewers cold. The accumulated data had created not superhuman beauty, but a statistically correct average.

AD Classics: Gallaratese Quarter / Aldo Rossi & Carlo Aymonino

11:15 - 14 March, 2017
AD Classics: Gallaratese Quarter / Aldo Rossi & Carlo Aymonino, © Gili Merin
© Gili Merin

As the dust settled following the Second World War much of Europe was left with a crippling shortage of housing. In Milan, a series of plans were drafted in response to the crisis, laying out satellite communities for the northern Italian city which would each house between 50,000 to 130,000 people. Construction the first of these communities began in 1946, one year after the end of the conflict; ten years later in 1956, the adoption of Il Piano Regolatore Generale—a new master plan—set the stage for the development of the second, known as 'Gallaratese'. The site of the new community was split into parts 1 and 2, the latter of which was owned by the Monte Amiata Società Mineraria per Azioni. When the plan allowed for private development of Gallaratese 2 in late 1967, the commission for the project was given to Studio Ayde and, in particular, its partner Carlo Aymonino. Two months later Aymonino would invite Aldo Rossi to design a building for the complex and the two Italians set about realizing their respective visions for the ideal microcosmic community.[1]

© Gili Merin © Gili Merin © Gili Merin © Gili Merin +17

Fighting the Neoliberal: What Today's Architects Can Learn From the Brutalists

09:30 - 10 March, 2017
Fighting the Neoliberal: What Today's Architects Can Learn From the Brutalists, <a href='http://www.archdaily.com/790453/ad-classics-barbican-estate-london-chamberlin-powell-bon'>The Barbican</a> in London. Image © Joas Souza
The Barbican in London. Image © Joas Souza

In this second installment of his revamped “Beyond London” column for ArchDaily, Simon Henley of London-based practice Henley Halebrown discusses a potential influence that might help UK architects combat the economic hegemony currently afflicting the country – turning for moral guidance to the Brutalists of the 1960s.

Before Christmas, I finished writing my book entitled Redefining Brutalism. As the title suggests I am seeking to redefine the subject, to detoxify the term and to find relevance in the work, not just a cause for nostalgia. Concrete Brutalism is, to most people, a style that you either love or hate. But Brutalism is far more than just a style; it is way of thinking and making. The historian and critic Reyner Banham argued in his 1955 essay and 1966 book both entitled The New Brutalism: Ethic or Aesthetic that the New Brutalism began as an ethical movement only to be hijacked by style. Today, it is a mirror to be held up to the architecture of Neoliberalism, to an architecture that serves capitalism. More than ever, architecture relies on the brand association of the big name architects whose work has little to do with the challenges faced by society, which are today not unlike the ones faced by the post-war generation: to build homes, places in which to learn and work, places for those who are old and infirm, and places to gather. We can learn a lot from this bygone generation.

Dunelm House student union building in Durham, by the Architect's Co-Partnership. Image © <a href='http://www.geograph.org.uk/more.php?id=2935919'>Geograph user Des Blenkinsopp</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> <a href='http://www.archdaily.com/791939/ad-classics-park-hill-estate-sheffield-jack-lynn-ivor-smith'>Park Hill</a> in Sheffield: left, in its original design; right, a section of the renovation. Image © Paul Dobraszczyk "Streets in the sky" at Robin Hood Gardens by Alison and Peter Smithson. Image © <a href='https://www.flickr.com/photos/stevecadman/3058342144/'>Flickr user stevecadman</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> St Peter's Seminary in Cardross, Scotland, by Gillespie Kidd and Coia, here shown in its original state. Image Courtesy of GKC Archive +10

New Map Celebrates Paris’ Brutalist Architecture

08:00 - 3 March, 2017
New Map Celebrates Paris’ Brutalist Architecture , Les Choux de Créteil. Image © Nigel Green
Les Choux de Créteil. Image © Nigel Green

Adding to its regular releases of city guide maps, London-based publisher Blue Crow Media has now produced the Brutalist Paris Map, in collaboration with Nigel Green and Robin Wilson of Photolanguage. Having previously covered Washington D.C.’s most prominent Brutalist buildings, the latest map highlights over 40 Parisian examples of Brutalist architecture.

Bourse by Travail. Image © Nigel Green Courtesy of Blue Crow Media Courtesy of Blue Crow Media Les Damiers. Image © Nigel Green +10

Is India Building the "Wrong" Sort of Architecture?

04:00 - 6 January, 2017

This episode of Monocle 24's On Design podcast, which briefly surveys the state of Indian architecture and suggests a blueprint for a 21st Century vernacular, was written and recorded by ArchDaily's European Editor at Large, James Taylor-Foster.

In the first half of 2016 an exhibition was opened in Mumbai. The State of Architecture, as it was known, sought to put contemporary Indian building in the spotlight in order to map trends post-independence and, more importantly, provoke a conversation both historical and in relation to where things are heading.

Spotlight: Le Corbusier

06:00 - 6 October, 2016
Spotlight: Le Corbusier, Notre Dame du Haut at Ronchamp. Image © <a href='www.flickr.com/photos/9160678@N06/2089042156'>Flickr user scarletgreen</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
Notre Dame du Haut at Ronchamp. Image © Flickr user scarletgreen licensed under CC BY 2.0

Born in the small Swiss city of La Chaux-de-Fonds, Charles-Édouard Jeanneret-Gris—better known by his pseudonym Le Corbusier (October 6, 1887 – August 27, 1965)—is widely regarded as the most important architect of the 20th century. As a gifted architect, provocative writer, divisive urban planner, talented painter, and unparalleled polemicist, Le Corbusier was able to influence some of the world’s most powerful figures, leaving an indelible mark on architecture that can be seen in almost any city worldwide.

Columbia GSAPP Releases Online Catalogue of 20,000 Architectural Images to Students

12:35 - 14 September, 2016

The Visual Resources Collection (VRC) at the Columbia University Graduate School of Architecture, Planning and Preservation (GSAPP) has released the second phase of their online database, now containing 20,000 images of architectural plans, sections, diagrams and photographs. The Avery/GSAPP Architectural Plans & Sections Collection contains images related to GSAPP’s history of modern architecture curriculum, which focuses on the history of modern buildings, with an emphasis of 20th century Modernism.

Luxury Living Through the Ages, From the Castle to the Villa

04:00 - 2 September, 2016
Luxury Living Through the Ages, From the Castle to the Villa, © Shutterstock user Naumenko Aleksandr
© Shutterstock user Naumenko Aleksandr

Although societies have transformed through the ages, wealth never truly seems to go out of style. That said, the manner in which it is expressed continually adapts to each successive cultural epoch. As a consequence of evolving social mores and emerging technologies, the ideal of “luxury” and “splendour” sees priorities shift from opulence to subtlety, from tradition to innovation, and from visual ornamentation to physical comfort.

AD Classics are ArchDaily's continually updated collection of longer-form building studies of the world's most significant architectural projects. In these ten examples of "high-end" residences, which represent centuries of history across three separate continents, the ever-changing nature of status, power and fine living is revealed.

© Kazunori Fujimoto Courtesy of Wikimedia user Wolfgang Moroder under CC 3.0 © Flavio Bragaia © Peter Aaron / OTTO +10

AD Classics: Exposition Internationale des Arts Décoratifs et Industriels Modernes

04:00 - 19 August, 2016
AD Classics: Exposition Internationale des Arts Décoratifs et Industriels Modernes, The Exposition’s poster, designed by Robert Bonfils. ImageCourtesy of the Victoria and Albert Museum
The Exposition’s poster, designed by Robert Bonfils. ImageCourtesy of the Victoria and Albert Museum

The end of the First World War did not mark the end of struggle in Europe. France, as the primary location of the conflict’s Western Front, suffered heavy losses in both manpower and industrial productivity; the resulting economic instability would plague the country well into the 1920s.[1] It was in the midst of these uncertain times that the French would signal their intention to look not to their recent troubled past, but to a brighter and more optimistic future. This signal came in the form of the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Decorative Arts and Modern Industries) of 1925 – a landmark exhibition which both gave rise to a new international style and, ultimately, provided its name: Art Deco.

Courtesy of Wikimedia user François GOGLINS (Public Domain) Courtesy of Wikimedia user François GOGLINS (Public Domain) Horta’s Belgian Pavilion was a radical departure from his typically curvilinear Art Nouveau style. ImageCourtesy of Wikimedia user François GOGLINS (Public Domain) Courtesy of Wikimedia user François GOGLINS (Public Domain) +14

Studying the "Manual of Section": Architecture's Most Intriguing Drawing

08:30 - 18 August, 2016
Studying the "Manual of Section": Architecture's Most Intriguing Drawing, Phillips Exeter Academy Library by Louis I. Kahn (1972). Published in Manual of Section by Paul Lewis, Marc Tsurumaki, and David J. Lewis published by Princeton Architectural Press (2016). Image © LTL Architects
Phillips Exeter Academy Library by Louis I. Kahn (1972). Published in Manual of Section by Paul Lewis, Marc Tsurumaki, and David J. Lewis published by Princeton Architectural Press (2016). Image © LTL Architects

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.

Bagsværd Church by Jørn Utzon (1976). Published in Manual of Section by Paul Lewis, Marc Tsurumaki, and David J. Lewis published by Princeton Architectural Press (2016). Image © LTL Architects Notre Dame du Haut by Le Corbusier (1954). Published in Manual of Section by Paul Lewis, Marc Tsurumaki, and David J. Lewis published by Princeton Architectural Press (2016). Image © LTL Architects United States Pavilion at Expo '67 by Buckminster Fuller and Shoji Sadao (1967). Published in Manual of Section by Paul Lewis, Marc Tsurumaki, and David J. Lewis published by Princeton Architectural Press (2016). Image © LTL Architects The Solomon R. Guggenheim Museum by Frank Lloyd Wright (1959). Published in Manual of Section by Paul Lewis, Marc Tsurumaki, and David J. Lewis published by Princeton Architectural Press (2016). Image © LTL Architects +15

AD Classics: Proposal for a Hospital in Venice / Le Corbusier

04:30 - 15 August, 2016
AD Classics: Proposal for a Hospital in Venice / Le Corbusier, Model. Image © Fondation Le Corbusier (FLC/ADAGP)
Model. Image © Fondation Le Corbusier (FLC/ADAGP)

Le Corbusier made an indelible mark on Modernist architecture when he declared “une maison est une machine-à-habiter” (“a house is a machine for living”). His belief that architecture should be as efficient as machinery resulted in such proposals such as the Plan Voisin, a proposal to transform the Second Empire boulevards of Paris into a series of cruciform skyscrapers rising from a grid of freeways and open parks.[1] Not all of Le Corbusier’s concepts, however, were geared toward such radical urban transformation. His 1965 proposal for a hospital in Venice, Italy, was notable in its attempt at seeking aesthetic harmony with its unique surroundings: an attempt not to eradicate history, but to translate it.

Model. Image © Fondation Le Corbusier (FLC/ADAGP) Plan Plan Situation Plan +7