"More and more people in the planet are in search for a decent place to live and the conditions to achieve it are becoming tougher and tougher by the hour," explains his curatorial statement. "But unlike military wars where nobody wins and there is a prevailing sense of defeat, on the frontlines of the built environment, there is a sense of vitality because architecture is about looking at reality in a proposal key."
Aravena will have big shoes to fill. The previous Biennale, Rem Koolhaas' 2014 event, was extremely successful and highly praised by many critics. It was also widely regarded as the most anticipated event in the Biennale's history, after the Biennale had courted Koolhaas for years. But if Koolhaas' Biennale was the event that people looked forward to, I believe - or rather I hope - that Aravena's Biennale will be the one that people look back on in decades to come.
The Venice Biennale has announced the theme selected by 2016 Biennale director Alejandro Aravena. Titled "Reporting From the Front," next year's Biennale will be an investigation into the role of architects in the battle to improve the living conditions for people all over the world. The theme aims to focus on architecture which works within the constraints presented by a lack of resources, and those designs which subvert the status quo to produce architecture for the common good - no matter how small the success.
http://www.archdaily.com/772776/venice-biennale-announces-theme-for-2016-event-reporting-from-the-frontAD Editorial Team
In recent years, the architecture world has seen a significant surge of interest in socially-conscious design; from sustainability to social housing, and from public space to disaster relief, architecture is beginning to take on some of the biggest humanitarian challenges of our era. But despite its popularity, public-interest design is still only a fringe activity in architecture, either bolted on to existing design or only practiced by a select group of people. In this short article originally published by Metropolis Magazine, Metropolis Editor-in-Chief Susan Szenasy makes the case that rather than working on the periphery, "the drive to improve living conditions for all life should be at the center of contemporary architecture and design."
"There are far, far more basic things - health, education, housing, and so on - but the thing that we try to communicate [...] is that we need to better articulate how design can improve those truly basic human needs."
In 1982, the billionaire duty-free shopping magnate Chuck Feeney made a decision that would dramatically alter the course of his career and change his legacy forever: he founded a philanthropic organization, The Atlantic Philanthropies, and made a $7 million donation to Cornell University. Two years later, Feeney transferred his entire $1.6 billion stake in his company to The Atlantic Philanthropies (a move that the world did not find out about until 1997), and the organization has since gone on to make $6.5 billion worth of grants, in large part to fund construction projects that changed lives. Now, the organization is winding down, with its planned closure scheduled for 2016. To celebrate almost three and a half decades of giving, the organization has released "Laying Foundations for Change: Capital Investments of The Atlantic Philanthropies." The following excerpt is taken from the book's foreword by President and CEO Christopher G. Oechsli, originally titled "What This Book Is About."
Imagine having the resources to build something that can dramatically alter the lives of people, communities, even nations. Conversely, imagine an unassuming man coming to you and asking what you could build to change many lives, of the people in your community or even your nation. Imagine the possibilities. That’s what this book is about. It’s about fields of dreams, and about the people who were asked to imagine what could be built upon those fields to improve the lives of people, and of the people who come and till those fields and are part of that change. It’s a visual and narrative story of Charles Francis “Chuck” Feeney and The Atlantic Philanthropies and what literally laying the foundations for change means for people and nations.
http://www.archdaily.com/632110/how-the-atlantic-philanthropies-changed-lives-through-buildingChristopher G. Oechsli
In a development that shocked many in the architecture world, on the 19th of January Architecture for Humanity - arguably the world’s leading architectural charity - was reported to have gone bankrupt, closing their San Francisco headquarters. By itself, this news was attention-grabbing enough, but in the aftermath two interesting things happened: firstly, many started to wonder what would become of the organization’s many local chapters in the US and beyond; secondly, some writers began to uncover small but long-standing disagreements about how the central organization had courted publicity - managing director of Architecture for Humanity’s New York chapter Rachel Starobinsky, for example, was quoted by FastCo Design saying that “visibility always went to the disaster relief projects that headquarters was working on” and that “the chapters were not really highlighted or valued as much as they could have been.” All of a sudden many people - this writer included - were talking about the importance of both creating strong networks and of sharing information to the creation of a strong humanitarian design outfit.
None of these ideas, though, would have been new to the members of Architecture Sans Frontières. Though it was founded a full two decades earlier than Architecture for Humanity, beginning in France in 1979, ASF has never really shared the public profile of some of its contemporaries. There are reasons for this - a lack of desire to actively court attention chief among them - but none of them have anything to do with ASF’s ability to do good in the world.
To many, the harsh turns the modern city has taken are not apparent. We see benches and bus stops that masquerade as shelters, but Guardian writer Alex Andreou's sudden plunge into homelessness opened his eyes to the hostile realities of these and other structures. In "Anti-Homeless spikes: 'Sleeping rough opened my eyes to the city's barbed cruelty'," he sheds some light on misconceptions about homelessness and explains the unfortunate trend of designing unlivable architecture to deter those affected.
Speaking of the public image of the architect, Stephanie Garlock laments that it is often akin to "Ayn Rand's Howard Roark— arrogant, individualistic, and committed to the genius of artistic vision above all." In a feature piece for the March/April edition of Harvard Magazine, Garlock explores the potential for architects to affect wider social change and move "[b]eyond 'Design for Design's Sake'."
In the Spanish suburb of Alfafar, conditions were looking grim as economic hardships plunged over 40% of its residents into unemployment and left significant portions of its housing vacant. In response, a group of young architects have developed a co-housing plan for the area to accommodate its shifting needs, enabling residents to exchange and share space as needed. Using the existing buildings as the framework, the line between public and private will evolve over time with changing conditions, following in the footsteps of other European countries that have successfully employed similar undertakings. Read more about Alfafar's co-housing plan, here.
In the introduction to Architecture for Humanity’s 2006 book Design Like You Give a Damn, founder Cameron Sinclair recounts a story from the early days of the organization. Half-joking yet deadly serious, he describes the day when, while still running Architecture for Humanity from a single cell phone around his day job at Gensler, he was contacted by the UN High Commissioner for Refugees who told him that Architecture for Humanity was on a list of organizations that might be able to help a potential refugee crisis in Afghanistan should the US retaliate in the wake of September 11.
“I hope it’s a long list,” says Sinclair. “No,” comes the answer.
“We’d like to think it was because we had already become a voice for humanitarian design - an unexpected touchstone in the movement for socially conscious architecture,” writes Sinclair of the incident. “The sad truth is that until 1999, when our fledgling organization got started along with a handful of others, there was no easily identifiable design resource for shelter after disaster.”
The 2015 winners of the annual Social Economic Environment Design (SEED) Awards for Excellence in Public Interest Design have been announced. The international competition celebrates designs which excel in these realms, and strive to create manageable sustainable impacts. The winning projects, selected by a jury, will receive $1000, as well as attendance to the annual Structures for Inclusion conference in Detroit, Michigan in April.
The six winning projects each encompass the ideals of community outreach, socio-economic improvement, and environmental awareness in the context of their unique locations. Though the designs are distinct, the values they embody are universal.
Read more about the winning designs after the break.
However, there are currents of change afoot. Many who have been marginalized are now working to defeat the stigma and legitimize their communities, and they are enlisting architects to the fray. From an organization in Capetown that aims to transform the role of the South African designer, to another in Johannesburg that uses design to legitimize informal architecture, to a project in one of the most violent townships in South Africa that has transformed a community, the following three projects are making a difference for the users who have the most to gain from their designs and design-thinking. All three represent not only the power of design to defeat stigma and instill dignity, but also the power of communities to incite these projects, make them their own, and enable them to thrive.
The vast majority of contemporary architectural practice today is service industry based, where a fee-paying client commissions a firm for a defined scope of services. Master of self-effacing cynicism Philip Johnson wryly accepted this structure, calling architects “high-class whores.” The recent surge of interest in designing for traditionally underserved communities, from groups such as Architecture for Humanity, MASS Design, Project H and Public Architecture challenges the traditional firm model. The Prizker Prize jury’s recognition of Shigeru Ban’shumanitarian designs highlights that high design and a socially conscious practice are not mutually exclusive.
Believing that architecture can alleviate societal ills and improve the quality of life for all people is not a new concept. Two eras, the 1920s and 1960s-70s, brought a social agenda to the forefront of the discourse. Hindsight reveals flaws of each. Modernism’s utopian visions for public housing and urban renewal are blamed for the detrimental impact of Post-WWII urban housing projects; participatory design in the 1960s and 70s is criticized for ceding expertise in the name of consensus, ending with projects that were no better than the status quo. Despite this, there are lessons to be learned from those who emphasized the social and humanitarian role of architecture.
Most architects have to wait years to see their first project realized – but if you’re an architecture student at Yale University, you may just have to get on campus.
The Jim Vlock Project, established in 1967, gives first year graduate architecture students the opportunity to design and build a single family home in New Haven, Connecticut. The most recent iteration of the program, which investigated prefab design and construction, will be dedicated today at Yale University.
More info on this year's Jim Vlock house, after the break...
“The modern architect is designing for the deaf.” Canadian composer R. Murray Schafer makes a valid point.  The topic of sound is practically non-existent in modern architectural discourse. Why? We, as architects, think in terms of form and space; we balance scientific understanding and artistic vision. The problem is, we have a tendency to give ample thought to objects rather than processes and systems. Essentially, our field is ocular-centric by nature. So how do we start to “see” sound? And more importantly, how do we use it to promote health, safety and well-being?