Self-described as “a periodical of architectural stories that [makes] a mess of the built environment and the politics of space,” SOILED zine‘s 5th issue has been released, abounding with tales of the aerial. Entitled Cloudscrapers, the issue is the second in a series of limited-edition, locally produced publications by CARTOGRAM Architecture.
Exploring “air-space as a site for activated atmospheres, a privileged perch, and otherwordly occupation,” Cloudscrapers promises readers a diverse and entertaining read, whilst provoking thoughts of spatial wonders otherwise unconsidered. Learn more about SOILED and purchase a copy of Cloudscrapers here.
The Avery Review (AR), a new online journal dedicated to thinking about books, buildings and other architectural media, seeks to utilise the potential in the critical essay and repackage it for the digital realm. A project of the Office of Publications at Columbia University’s Graduate School of Architecture, Planning and Preservation, the AR’s responsive website (designed by Nothing in Common) perfectly matches the exceptional quality of the content. Featuring essays from Owen Hatherley and Amale Andraos, among others, the overarching aim of the review is to “explore the broader implications of a given object of discourse” whether that be “text, film, exhibition, building, project, or urban environment.”
Find out more from editors Caitlin Blanchfield and James Graham after the break.
trans magazin, a semi-annual journal published by the Department of Architecture at the Swiss Federal Institute of Technology ETHZ, seeks to address “issues in architecture and urban development from a variety of perspectives.” Managed by an independent student editorial team since 1997, the publication studies and discusses humanities, politics, philosophy and the arts. It is “a platform for interdisciplinary discourse” packaged in a beautifully printed, weighty periodical.
The Draftery, a printed platform to “discuss the role of architectural drawing today”, brings together a fascinating collection of images and words in a publication on three distinct platforms. Figures, Captions and Archive facilitate a multi-disciplinary conversation about how drawings are made and their role in the built environment. Now approaching their third anniversary, how far have they come and where is the project headed?
January 2013 saw the re-launch of The Draftery and the total reconstruction of the project. Their crisp publications now have a strong editorial thread which compliments the carefully curated collections of architectural drawings. Seeking to “demonstrate that drawing, more than mere representation, is a method of acting in the world”, good drawings provide a moment of visual solice in a fast paced profession.
BI is a publication focused on the exchanges between architecture and its wider cultural context; it consists of short extemporaneous texts with longer studied pieces from a multitude of perspectives. The following is an excerpt from its latest (and first print) edition, FREE, written by the editors-in-chief E. Sean Bailey and Erandi de Silva.
There is implicit conflict in the word ‘free’. While culturally we celebrate the infinite opportunities afforded by the ‘freedom to’, the term also alludes to emancipation, a break from a captive state, or a ‘freedom from’. ‘Free’ is, at its core, an architectural concept. Architecture is a discipline directly engaged with shaping enclosure, of erecting and toppling barriers or—more explicitly—of extending and limiting ‘freedoms’.
The Architecture of Pompidou Metz: An Excerpt from “The Architecture of Art Museums – A Decade of Design: 2000 – 2010″
In honor of International Museum Day, we’re taking a look back at the 21st century’s most exciting museums. The following is an excerpt from the recently released book, The Architecture of Art Museums – A Decade of Design: 2000 – 2010 (Routledge) by Ronnie Self, a Houston-based architect. Each chapter of the book provides technical, comprehensive coverage of a particular influential art museum. In total, eighteen of the most important art museums of the early twenty-first century - including works from Tadao Ando, Herzog & de Meuron, SANAA, Steven Holl, and many other high-profile architects - are explored. The following is a condensed version of the chapter detailing Shigeru Ban and Jean de Gastines’ 2010 classic, Centre Pompidou-Metz.
The Pompidou Center – Metz was a first experiment in French cultural decentralization. In the late 1990’s, with the prospect of closing Piano and Roger’s building in Paris for renovations, the question arose of how to maintain some of the 60,000 works in the collection of the National Museum of Modern Art available for public viewing. A concept of “hors les murs” or “beyond the walls” was developed to exhibit works in other French cities. The temporary closing of the Pompidou Center – Paris spurred reflections on ways to present the national collection to a wider audience in general. Eventually a second Pompidou Center in another French city was imagined.
This post was originally published in The Architectural Review as “Size Doesn’t Matter: Big Ideas for Small Buildings.“
Taschen’s latest volume draws together the architectural underdogs that, despite their minute, whimsical forms, are setting bold new trends for design.
When economies falter and construction halts, what happens to architecture? Rather than indulgent, personal projects, the need for small and perfectly formed spaces is becoming an economic necessity, pushing designers to go further with less. In their new volume Small: Architecture Now!, Taschen have drawn together the teahouses, cabins, saunas and dollhouses that set the trends for the small, sensitive and sustainable, with designers ranging from Pritzker Laureate Shigeru Ban to emerging young practices.
While architects don’t always see the connection between politics, social constructs, and architecture, James Stewart Polshek considers the three indivisible. In an interview on Metropolis Magazine about his newly released book Build, Memory, he describes how this belief launched his career 65 years ago. To learn more about Polshek’s approach to architecture and the publication, click here.
The Society of Architectural Historians (SAH) has chosen to honor six of the “most distinguished publications” released in the last two years with their prestigious Publication Awards. The annual prize awards publications in architectural history, urban history, landscape history, preservation, and architectural exhibition catalogs, as well as the best article published in the Journal of the Society of Architectural Historians by an emerging scholar. View all the winners, after the break…
Launched in September 2013 by students at the Harvard Graduate School of Design, Open Letters is a print experiment that tests the epistolary form as a device for generating conversations about architecture and design. The project stems from an earnest curiosity about what people have to say to each other about architecture, landscapes, cities, ideas, history, practice, experience and learning.
New issues are released every other Friday, each presenting one open letter, i.e. a letter addressed to a particular party, but intended for publication, about any topic relating to the design disciplines. Past correspondents have written to mentors, chairs, trees, mystical creatures, those in need of advice and to NCARB. All issues can be read online.
PLAT Journal invites content for its forthcoming issue, Mass. At once a spatial and social practice, architecture produces mass: an accumulation that, given momentum, projects a social attitude. Mass is assertive—whether through a tactful manipulation of scale, an astute engagement of its context, or a specific formal legibility, it speaks plainly but with conviction.
Taking as its site the point of exchange between a form and its constituency, this issue of PLAT Journal will investigate how notions of mass come to the fore of contemporary architectural practice.
Mass is pop with agency. Fast and loose, high and low, how does a form take on mass culture through its presence in an urban fabric? What is its agenda?
Mass has the capacity to define a collective. How do architectural projects articulate a plurality in a way that’s relevant to today?
Mass gains coherence through the magnetism of its parts: local attractions have global repercussions. What’s next? How does its impact extend beyond its envelope?
PLAT 4.0 welcomes design projects, abstracts, essays, visual media, narratives, manifestos, and conversations that engage the notion of mass in the discourse and production of architecture today. Please submit an abstract and (if applicable) images by January 1, 2014 to curator@PLATJournal.com. Click here for more information.
Submissions should be in American English and formatted in accordance with the Chicago Manual of Style, with all sources clearly documented. Images should be a JPEG, 2 MB or smaller. Authors should have high-resolution, publication-quality images available if selected. All authors must have rights or permissions for all images submitted before final publication. Any questions should be sent to email@example.com.
PLAT is an independent architectural journal published by students at the Rice School of Architecture. Its purpose is to shift architectural discourse by stimulating new relationships between design, production, and theory. It operates by interweaving student, faculty, and professional work into an open and evolving dialogue that progresses from issue to issue. Curating worldwide submissions in two annual issues, PLAT serves as a projective catalyst for architectural discourse.
Written by James WP Campbell and featuring stunning photography by Will Pryce, “The Library: A World History” (published by Thames & Hudson 2013) explores the evolution of libraries in different cultures and throughout the ages. It investigates how technical innovations as well as changing cultural attitudes have shaped the designs of libraries from the tablet storehouses of ancient Mesopotamia to today’s multi-functional media centres.
Read on for some insights from the book and more of its beautiful photography
It is safe to say that architects and planners have always been among those striving for utopian ideals through physical space. Just look at the 20th century, when designers converged around the idea of creating new cities for lives that embraced new technologies. We had the Futurists who were obsessed with automobiles, speed and factory cities. We had CIAM and Team 10 who collectively and individually developed the modernist ideals for housing and urban planning. We had Archigram that developed conceptual creations for cities that walked, were inflatable, and could be packed and unpacked in locations all over the world. We had Superstudio, an architecture firm that developed renowned conceptual works of the “total urbanization” of architecture.
As impractical and experimental as some of these proposals were, they initiated a conversation, not only about the physical space that they presented, but the social implications of their designs. The latest issue of MAS CONTEXT, Improbable, tackles these “unlikely futures envisioned in the past that never became present” and explores how, to various degrees, these impossible and improbable agendas projects came to fruition. Join as after the break for a closer look at the new issue.
In September 2011 Barney Kulok was granted special permission to create photographs at the construction site of Louis I. Kahnʼs Four Freedoms Park in New York City, commissioned in 1970 as a memorial to Franklin D. Roosevelt. The last design Kahn completed before his untimely death in 1974, Four Freedoms Park became widely regarded as one of the great unbuilt masterpieces of twentieth-century architecture. Almost forty years after having been commissioned, it is finally being completed this year, as originally intended.
Le Corbusier (1887-1965) was the most significant architect of the twentieth century. Every architecture student examines the Swiss master’s work. Yet, all too frequently, they rely on reproductions of faded drawings of uneven size and quality. Le Corbusier Redrawn presents the only collection of consistently rendered original drawings (at 1:200 scale) of all twenty-six of Le Corbusier’s residential works. Using the original drawings from the Le Corbusier Foundation’s digital archives, architect Steven Park has beautifully redrawn 130 perspectival sections, as well as plans, sections, and elevations of exterior forms and interior spaces.
Adaptation: Architecture, Technology and the City is a publication that is a result of the collaboration between INABA and Free that brings interviews and art works into a conversation about the advancement of digital technology and its place in the built environment. The publication is a fascinating study into the dialogue between technological advancements in transportation and communications and the tangible environment with which is inextricably linked.
Architecture is fundamentally existential in its very essence, and it arises from existential experience and wisdom rather than intellectualized and formalized theories. We can only prepare ourselves for our work in architecture by developing a distinct sensitivity and awareness for architectural phenomena.” With these declarative words, Finnish architect, educator and critic Juhani Pallasmaa resounds the call of his 2005 volume, Encounters: Architectural Essays, in this second volume of essays, Encounters 2.
Lafayette Park, an affordable middle-class residential area in downtown Detroit, is home to the largest collection of buildings designed by Ludwig Mies van der Rohe in the world. Today, it is one of Detroit’s most racially integrated and economically stable neighborhoods, although it is surrounded by evidence of a city in financial distress. Through interviews with and essays by residents; reproductions of archival material; and new photographs by Karin Jobst, Vasco Roma, and Corine Vermeulen, and previously unpublished photographs by documentary filmmaker Janine Debanné, Thanks for the View, Mr. Mies examines the way that Lafayette Park residents confront and interact with this unique modernist environment.