How do you compare cities? It's difficult to collapse millions of individual subjective experiences into a single method of comparison, but one popular technique used in recent years has been to judge a city's "livability." But what does this word actually mean? In their 2015 ranking of the world's most livable cities, Metropolis Magazine has gathered together a group of experts on city planning, urban life, tourism and architecture to break down "livability" into the categories they think matter and draw upon Metropolis' considerable urban coverage to produce one of the most thorough attempts to rank world series yet attempted. Find out the results after the break.
As a founding partner of Gehl Architects and a consultant to cities such as Copenhagen, London and New York, Jan Gehl has been one of the most influential figures in the drive towards more liveable and healthier cities for over four decades. In this interview, first published by Metropolis Magazine as "Q&A: Jan Gehl on Making Cities Healthier and the Real Meaning of Architecture," Gehl discusses what makes a city healthy and why the need for healthy cities is a unifying worldwide phenomenon.
Mikki Brammer: You're often associated with the idea of making cities "healthier." What do you mean by the term?
Jan Gehl: I’m neither the first, nor the only one, to point out that in the past 50 years we have practiced city planning that invites people to be inactive in their lives. You can spend your entire life behind steering wheels, or computers, or on sofas, and in many cases you don’t have to move a muscle from morning to night. This, of course, has been identified as something that is very dangerous for mankind.
In many western countries, the demographic pyramid is beginning to look inverted, as elderly populations grow and increasingly few children are born at the other end of the scale. How, asks Metropolis Magazine, does society provide for the growing ranks of the retired and newly elderly? Elderly care scandals and and discomfort with the idea of retirement communities has led to a search for ways to care for senior citizens in their own homes. Urban planning expert Deane Simpson, however, warns against accepting the idea of what he calls "aging in place" entirely uncritically: his exploration of the way current retirement communities function goes into the social motivations behind care homes and the United States' elderly communities, and discusses the future of retirement for the emerging baby-boomer generation of retirees. Read the full story over at Metropolis Magazine here.
Every year, the Architectural League of New York honors the rising stars of architecture with the Emerging Voices Award, a title offered only to the most promising professionals. Long known as a predictor of long-term career success, the award has been given to architects who have later become some of the best in the world, including Steven Holl, Toshiko Mori, and Tod Williams. For a recent article entitled 10 Emerging Voices Winners on the Program's Lasting Influence, Metropolis Magazine asked some of the award's most illustrious winners to discuss how their trajectories were changed by the award, and how they changed architecture.
Since 1982, The Architectural League of New York's Emerging Voices awards have helped to launch hundreds of careers and consistently picked out the best and brightest in architecture. To highlight the release of a new anthology of the work of Emerging Voices' luminaries, Metropolis Magazine spoke with the League’s director, Rosalie Genevro, and the program director, Anne Rieselbach, about the mission of the Emerging Voices awards. The interview covers the changing criteria and contexts of the awards, adapting to a new form of voice in the information age and some of the award's most successful alumni. Read the full interview, including inside information on how the selection process works, over at Metropolis Magazine here.
With the opening of the Fondazione Prada art galleries in May, OMA showed a different side to their practice, one focusing on preservation and assemblage rather than the iconography and diagrammatic layout that many associate with the firm. In this interview, originally published by Metropolis Magazine as "Koolhaas Talks Prada," Rem Koolhaas explains the reasoning behind this new approach, and how they attempted to avoid falling into the clichés of post-industrial art spaces.
When the Fondazione Prada opened its doors to a new permanent home in Milan dedicated to contemporary culture, it not only placed the Italian city firmly at the forefront of today’s global art world, but also introduced an ambitious new way of thinking about the relationship between architecture and art. The location—an original 1910 distillery in a distinctly gritty part of the city—comprised seven spaces including warehouses and three enormous brewing cisterns with a raw industrial quality that the architects, Dutch firm OMA, retained while adding three new buildings made of glass, white concrete, and aluminum foam. One, the centrally located Podium, is intended for temporary shows, while another—still under construction—is a nine-story tower that will house the foundation’s archives, art installations, and a restaurant. The third, a theater with a mirrored facade, features folding walls that allow the building to open onto a courtyard. In total, the collection of buildings provides nearly 120,000 square feet of exhibition space, more than twice that of the new Whitney Museum of American Art. Metropolis correspondent Catherine Shaw visited the site with Pritzker Prize–winning architect Rem Koolhaas to find out more about the challenges of creating a new cultural paradigm.
Now nearing completion just outside Santiago, Hariri Pontarini Architects' Bahá'í Temple of South America is currently one of the most significant religious construction projects in the world. In this article, originally published by Metropolis Magazine as "Sacred Structure," Guy Horton relates how - despite being in progress for almost a decade already - the design has changed remarkably little from the initial design sketch, using the latest technology to create a spiritual and emotional space.
For the last few years, in the Andean foothills just outside Santiago, Chile, a mysterious orb-like structure has been slowly rising under construction cranes. The new Bahá’i Temple of South America will be the first of its kind on the continent when it opens in 2016. It has been a historic journey for the Bahá’i faith in this part of the world—Bahá’i first arrived in Chile in 1919—and a patient journey for the architects, engineers, and builders who have brought the temple to life through a decade-long process of innovation.
In some exceptional cases, an architect can be just as monumental as the buildings they design. Michael Graves, who passed away in March, certainly had a huge influence over the architecture of the late 20th century, with works ranging from the geometric icons of early post-modernism such as the Portland Building, to the slightly more staid Denver Central Library, to the outlandish kitsch of his Swan and Dolphin resorts for Disney. Though his death brought well-deserved attention to his work, it's just as important to remember Graves as a person, and the influence he had on people throughout his lifetime. As such, Metropolis Magazine has brought together a group of Graves' friends, colleagues and collaborators to remember Michael Graves.
Justin McGuirk's book Radical Cities: Across Latin America in Search of a New Architecture is fast becoming a seminal text in the architecture world. Coming off the back of his Golden-Lion-winning entry to the 2012 Venice Biennale, created with Urban Think Tank and Iwan Baan, McGuirk's work has become a touchstone for the architecture world's recent interest in both low-cost housing solutions and in Latin America. This review of Radical Cities by Joshua K Leon was originally published by Metropolis Magazine as "Finding Radical Alternatives in Slums, Exurbs, and Enclaves."
Justin McGuirk’s Radical Cities: Across Latin America in Search of a New Architecture should be required reading for anyone looking for ways out of the bleak social inequality we’re stuck in. There were 40 million more slum dwellers worldwide in 2012 than there were in 2010, according to the UN. Private markets clearly can’t provide universal housing in any way approaching efficiency, and governments are often hostile to the poor. The only alternative is collective action at the grassroots level, and I’ve never read more vivid reporting on the subject.
On display until May 31st, the Vitra Design Museum's "Architecture of Independence – African Modernism" exhibition displays a cross-section of Africa's experimental architecture from the post-colonial years of the 1960s. Covering more than 80 projects in Kenya, Zambia, Ghana, Côte d’Ivoire, and Senegal, the exhibition aims to shed light on this little-known period of architecture history, and challenge Western notions of African countries. In this interview, originally published by Metropolis Magazine as "Q&A: Curator Manuel Herz on Africa's 'Grandiose' Modern Architecture," Curator Manuel Herz reveals the origins of the exhibition and shares his thoughts light on some of the buildings which the exhibition highlights.
Clare Dowdy: What triggered your interest in the post-colonial architecture of Central and Sub-Saharan Africa?
Manuel Herz: I was in Nairobi a couple of times around 2007 and noticed the architecture of that period was of outstanding quality but virtually unknown outside Kenya. This triggered an interest to research the whole of Sub-Saharan Africa. I found that the political urgency that existed at the time of the independence process is embodied in the architecture.
In their fifth annual "Game Changers" survey, Metropolis Magazine sought to uncover the visionaries who have the potential to make waves in design and architecture. Profiling six of design's "foremost forward-looking talents," the list includes Ila Bêka and Louise Lemoine, the filmmaking duo whose "Living Architectures" series takes a sideways glance at some of the world's most celebrated buildings; Amy Mielke and Caitlin Gucker-Kanter Taylor, whose work as Water Pore Partnership topped BIG and The Living for Holcim's North America Award; and finally Aggregate, a collaborative of architecture historians who are rethinking the way we do architecture theory. For the full list and profiles of all those featured on it, head on over to Metropolis Magazine.
In an article for Metropolis Magazine, Zachary Edelson speaks to architect and critic Michael Sorkin about The Next Helsinki - a competition set up "to inquire as to whether this very valuable site in this wonderful city can’t somehow be leveraged beyond a franchise museum building." The esteemed jury, replete with distinguished artists and architects (many of whom are Finnish), is not just "a counter-competition" to the recent Guggenheim competition: "we’re trying to raise the question of whether a big foreign institution is the most logical way to prompt the arts to flourish at the community level." Read Sorkin's comments about the Finns' attitude to their city and his thoughts on the shortlist of the recent Guggenheim competition in full here.
New York City is home to a plethora of Postmodernist designs — from the impressive Sony Tower to the diminuative Central Park Ballplayers' House — but most remain unprotected by traditional heritage registries. The New York City Landmarks Preservation Commission is at the threshold of its 50th anniversary but has yet to recognize the architectural successes of 1970 up to the most recent eligible year for landmarking, 1984. The commission has been unnecessarily slow to recognize Postmodernist structures in New York City, say Paul Makovsky and Michael Gotkin writing for Metropolis Magazine, who argue that the absence of historical recognition for Postmodernism has come at a high cost, citing the recladding of Takashimaya Building on Fifth Avenue as a "wake-up call" for the Commission.
The USA's tallest building shoulders one of the nation's greatest challenges: paying tribute to lives lost in one of the country's greatest tragedies. One World Trade Center in lower Manhattan has yet to be completed and yet has still recently been condemned by a number of critics, who cite the former "Freedom Tower" as an inspirational failure. Thirteen years after the attacks, the wider site at ground zero also remains plagued by red tape and bureaucratic delays, unfinished and as-yet-unbuilt World Trade Centers, Calatrava's $5B transit hub, and an absence of reverence, according to critics. Read some of the most potent reviews of the new World Trade Center site from the press in our compilation after the break.
“Absorbing Modernity: 1914-2014 is an invitation to the national pavilions to show, each in their own way, the process of the erasure of national characteristics in architecture in favor of the almost universal adoption of a single modern language and a single repertoire of typologies.” In this article, originally published on Metropolis Magazine as "Whose Modernity?", Avinash Rajagopal investigates the conflict this mandated theme at the 2014 Venice Biennale unintentionally created between the Northern and Southern pavilions - with Northern pavilions tending to declare sole ownership over Modernism and many Southern pavilions denying that their countries were passive recipients of the North's globalization. For more on how the Southern pavilions challenged the typical conveyance of architectural history, continue reading after the break.
With summer quickly coming to a close, time is running out to squeeze in one last good book. If you're open to suggestions, Metropolis Magazine recently rallied its staff members and a slew of notable architects, designers, and curators to round up an impressive list of summer reads. Amongst the architectural contributors are Mason White of Lateral Office, Donald Chong of Williamson Chong Architects, and Drew Seskunas of The Principals.
Originally published by Metropolis Magazine as “Playing in Traffic“, this article by Jack Hockenberry delves into the relationship between man and vehicle, illustrating the complex dynamic created in New York - a city with over 2.1 Million registered vehicles. Contrary to the car-centric schemes of New York's infamous former Master Planner Robert Moses, Hockenberry argues that the city is the "negative space" while vehicles are obscured by our unconscious.
It is a curiosity of modern urban life that the more cars crowd into cities, the more they become invisible. It’s a great feature that comes standard on any model these days. Unfortunately we can’t control it from the driver’s seat—however much we would like to wave our hands and watch through our windshields as gridlocked cars disappear, liberating us from traffic imprisonment. The invisibility I am speaking about only works if you’re a pedestrian or bicyclist. The number of motorized vehicles parked or driving at any given moment on the streets of New York City is astounding. An estimated 2.1 million are registered in the city, according to the state’s Department of Motor Vehicles. Yet we never fully register them visually when we’re walking on the streets. The city is the negative space and that is how our eyes increasingly navigate urban landscapes. Everything around the cars and trucks gets knitted together by the eye and, even though the vehicles are present, we have gradually learned to ignore them unless we’re standing in the direct line of moving traffic.
"For the most part, the way urbanists view black neighborhoods (and other low-income neighborhoods and communities of color) are as problems that need to be fixed. At the heart of what I want to say is what can we as urbanists learn from these neighborhoods?" So asks Sara Zewde, a landscape architecture student at Harvard's Graduate School of Design and this year's Landscape Architecture Foundation’s Olmsted Scholar, in a fascinating profile on Metropolis Magazine. Read more about Zewde and her work here.