“While not final, these renderings demonstrate the amazing possibilities as we work to transform this historic building into a center for learning, innovation and engagement for the District,” says the D.C. Public Library. Updated images and more information about the design, after the break.
The Victoria and Albert Museum (V&A), named after the Queen and Her Consort, has its foundations in the Great Exhibition of 1851 amidst the wealth, innovation and squalor of the Industrial Revolution. Britain was flooded by prosperity which allowed for the development of major new institutions to collect and exhibit objects of cultural significance or artistic value. The institute’s first director, Henry Cole, declared that it should be “a schoolroom for everyone,” and a democratic approach to its relationship with public life has remained the cornerstone of the V&A. Not only has it always been free of charge but it was also the first to open late hours (made possible by gas lighting), allowing a more comprehensive demographic of visitor.
Their latest exhibition, which opens today, seeks to realign the museum’s vast collection and palatial exhibition spaces in South Kensington with these founding concepts. The interventions of All of This Belongs to You attempt to push the V&A’s position as an extension of London’s civic and cultural built environment to the fore, testing the museum’s ability to act as a 21st century public institution. To do this in London, a city where the notion of public and private is increasingly blurred, has resulted in a sequence of compelling installations which are tied together through their relevance either in subject matter, technique, or topicality.
"It's not very Mies," says Dirk Lohan dubiously, in one of the great understatements of the year. We are standing in the double-height reception hall of the Langham Chicago hotel with what looks like dozens of multicoloured glass balloons swimming above us and a mirror-glass frieze adding to a cacophony of glitz and dazzle.
It is indeed the very antithesis of the aesthetic of the architect known for the phrase "less is more". But then the audacious idea of converting an office building by the most functionalist of architects into a five-star hotel was always going to be problematic.
On the surface, Mies van der Rohe's minimalist linear designs have little in common with the kitsch of vernacular architecture in the German countryside. Enter Joachim Brohm, who rose to prominence in the 1980s as one of the first European architecture photographers to work in colour, and now in a current exhibition draws an unexpected parallel between van der Rohe's designs for the unrealized Krefeld Golf Club in Germany and the rudimentary constructions of vernacular post-war architecture.
In "Vernacular & Modern," the latest exhibition at London's Grimaldi Gavin gallery, two of Brohm's photo series are juxtaposed to create a new narrative on architectural context. In Typology 1979, Brohm documents a series of vernacular houses in Ruhr, Germany; while in Mies Model Study, Brohm enters the temporary installation of van der Rohe's unbuilt golf club through a life-size model. Together, the two series contrast the highly aestheticized minimalist world of Mies van der Rohe with highly functional buildings of necessity in the German countryside.
Find the connection between vernacular and van der Rohe after the break
To celebrate the first anniversary of our US Materials Catalog, this week ArchDaily is presenting a three-part series on "Material Masters," showing how certain materials have helped to inspire some of the world's greatest architects.
Mies van der Rohe, famous for his saying “less is more,” was one of the preeminent modernist architects, well known for pioneering the extensive use of glass in buildings. His works introduced a new level of simplicity and transparency, and his buildings were often referred to as "skin-and-bones" architecture for their emphasis on steel structure and glass enclosure. In addition to Mies van der Rohe, glass was a major influence for many architects of the modernist movement and reshaped the way we think about and define space. Today, glass has become one of the most used building materials, but its early architectural expression is perhaps best exemplified in the works of Mies.
Bauhaus, the school of design established by Walter Gropius in Weimar in 1919, has arguably been the most influential of any institution in shaping the trajectory of modern architecture. Out of this single school came an entire movement that would have lasting effects on architectural pedagogy and the design of everything from buildings to road signs. Born out of a larger cultural movement following Germany’s defeat in World War I which left the country ripe for regrowth without the previous constraints imposed by censorship, the core of Bauhaus philosophy were the principles of craftsmanship and mass production, which allowed for the movement’s rapid proliferation and a production model that would later inform contemporary design companies such as Ikea. Check out the infographic from Aram below to learn more about the movement, tracking the school from its origins in Weimar, via its canonical Gropius-designed home in Dessau, to its continuing legacy today.
The construction of the IBM Building occurred midway through a legendary period in Chicago architecture—the decadelong building boom between 1965 and 1975, when Mies’s influence on the city’s skyline was at its most pervasive.
During these years, numerous Miesian structures by firms such as Skidmore, Owings & Merrill, C. F. Murphy Associates, and Loebl, Schlossman & Bennett were erected, and the city’s reputation as the founder of American modernism was finally and firmly established. The best of those buildings continue to dominate the skyline.
Few of the architectural principles developed in the 20th century have been as widely accepted as the curtain wall, with the technology going from an implied feature of Le Corbusier's Five Points of Architecture to the go-to facade treatment of architects worldwide. In this article, originally published on Australian Design Review as "Invisible Cities - The Last Remnant of Modernism," Annabel Koeck argues that the curtain wall, initially prized for its glassy transparency, is now making buildings and even entire cities invisible thanks to its sheer ubiquity - at the expense of architectural expression.
Norwegian architects Snøhetta, based between Oslo and New York, designed the glass structure for the The National September 11 Memorial entry pavilion, which appears camouflaged against the backdrop of neighbouring glass curtain walls that define the New York skyline. Admittedly, Snøhetta’s pavilion was conceived by a very different brief, one defined by timidity and subtlety; yet paradoxically it was the curtain wall that facilitated this. Looking over the South Pool towards an array of glazed elevations that dominate the skyline it is ironic that a Modernist technique – the curtain wall – could now spell the end for architectural diversity in cities.
Starting tomorrow (October 17), Chicago-based artists Petra Bachmaier and Sean Gallero of Luftwerk will be transforming Mies van der Rohe’s Farnsworth House into a “canvas of light and sound” with the digital installation, INsite. “An exploration of the philosophy of Mies through light,” INsite will offer an entirely new nighttime experience at the Plano residence that highlights the architecture’s famed characteristics with an interactive light show pulsating to the original “sonic exploration” of Owen Clay Condon.
A video preview of the installation, after the break.
In Berlin, Mies van der Rohe’s Neue Nationalgalerie has begun a new phase today with the opening of David Chipperfield’s intervention, a prologue to the imminent restoration which the famed British architect is about to undertake. Completed in 1968, the gallery was Mies’ last project and his final masterpiece; for nearly fifty years, nobody dared to touch it - until now. Marking this event is a large, site-specific installation, created by Chipperfield as an attempt to engage Mies in a spatial experiment (or perhaps a last, apologetic tribute to the 20th century master) moments before he is about to embark on a mission which will, inevitably, transform Mies’ ultimate legacy.
As summer draws to an end and we enter into the last quarter of 2014, we decided to round-up a selection of the most useful articles we've published over the past three years. Ranging from The 40 Architecture Documentaries to Watch in 2014 to The 10 Most Overlooked Women in Architectural History, we've also brought together app guides, career tips, and city guides. Alongside links to open-source CAD files and cut-out people, we've also featured book recommendations, study tips, and links to our complete coverage of some of the world's major architectural events and prizes. Delve into our collection and discover what our readers have found most useful!
In this 2009 lecture titled "Fabricating Ideology and Architectural Education," seminal architect, educator, and co-founder of OMA Elia Zenghelis discusses the development of ideologies that shape architectural discourse vis-a-vis architectural education. Arguing that architectural education is motivated by religious, socio-political, and economic principles, Zenghelis makes the case that the war-torn 20th century has been an era of upheaval and conflict, resulting in the loss of historical context and a confused state for artists and architects. Proposing the idea that architecture is a servant of power, and is thus intrinsically intertwined with political and societal trends, Zenghelis urges a return to a contextualized understanding of architectural history in order for contemporary architects to develop a sensitive and nuanced approach to their practice.
What is the true value of architecture in today's society? According to this article by Anna Katz, rare pieces of architectural history have recently soared in value. Katz discusses the booming world of architecture at auction, featuring pieces by Mies Van Der Rohe and Frank Lloyd Wright among others. The article gracefully compares some of the most important architecture of our time against current real estate prices, exploring the catalyst of rising values in architecture of the recent past, while deliberating on the pitfalls of owning a delicate piece of architecture history. Read the story in full on Blouin Art Info.
Congratulations on your Golden Lion for Lifetime Achievement. How did you learn that you'd been awarded the honour?
Thank you very much. I got a phone call from the curator, Rem Koolhaas, telling me and I had to wait for weeks as it went before the board, unable to tell anybody – then I got an official letter. Isn't it wonderful?
http://www.archdaily.com/518476/interview-phyllis-lambert-on-winning-the-golden-lion-for-lifetime-achievementChristopher Turner for Iconeye
In recent years, Mies van der Rohe's famous glass-walled Farnsworth House has been under a grave threat from flooding by the Fox River which runs right past it. In the past 18 years, the house has been flooded three times, causing thousands of dollars worth of damage, and now its owners the National Trust for Historic Preservation are considering plans for a permanent solution - among which is a plan to install hydraulic stilts which would lift the entire house out of harm's way in the event of a flood.
Richard Kelly illuminated some of the twentieth century’s most iconic buildings: the Glass House, Seagram Building and Kimbell Art Museum, to name a few. His design strategy was surprisingly simple, but extremely successful.
Lighting for architecture has been and still often is dominated by an engineering viewpoint, resigned to determining sufficient illuminance levels for a safe and efficient working environment. With a background in stage lighting, Kelly introduced a scenographic perspective for architectural lighting. His point of view might look self-evident to today’s architectural community, but it was revolutionary for his time and has strongly influenced modern architecture.
Read more about Richard Kelly’s remarkable, and unsung, contribution to architecutre, after the break.