In May 2016, the After Belonging Agency discussed the theme of the forthcoming Oslo Architecture Triennale—entitled After Belonging: a Triennale In-Residence, On Residence, and the Ways We Stay In-Transit—as part of In Therapy, the exhibition of the Nordic Pavilion at the 2016 Venice Biennale. The hour-long discussion, which also includes presentations by Shumi Bose and Füsun Türetken, begins with an in-depth description of how the Triennale intends to focus on the future challenges of migration by investigating how cities and architecture can react to large groups of people moving and resettling.
As part of ArchDaily's coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
Britain is suffering from a terrible housing crisis – one that is an incredibly predictable outcome of decades of neoliberal economic policy. The Chilean architect Alejandro Aravena has become well-known for building “half a house” – only completing core infrastructure in social housing, then encouraging residents to finish the other half with their own money over time. In effect, the first generation get a significantly cheaper home, but once the house has been doubled it could be sold at market rate. The discount, and profit, only applies to the original owners.
Temporary architecture is often misrepresented as a flimsy trend or photo-ready quick fix: easy, entertaining and often, mistakenly, cheap. This is Temporary concerns itself with a group of young, emerging, socially minded group of architects and designers who are taking the city back into their own hands and creating experimental sites for interaction and engagement. These architects, collectives, students and artists are designing transient structures, situations and events that invest and embed themselves in a community, public space or set of ideas.
Read an excerpt from the book This is Temporary after the break.
Tomorrow the Kickstarter campaign launched by the Real Estate Architecture Laboratory (REAL), which surpassed its funding target earlier this month, will come to an end. The Real Review, an independent bi-monthly magazine led by Jack Self and Shumi Bose which intends to "revive the review as a writing form" to a general readership within the architectural sphere, is slated for launch in early 2016. In an interview with ArchDaily, the editors stated that "the original crowdfunding target of $24,994 (or £15,990) was set at the [basic] cost of print." Having since surpassed their first goal by almost £10,000 to date, every new donation or subscription adds to the financial feasibility and longevity of the project. Following the announcement that Self, Bose and Finn Williams will be curating the British Pavilion at the 2016 Venice Biennale, a new reward was added to their campaign.
Last month a Kickstarter campaign launched by the Real Estate Architecture Laboratory (REAL) reached its funding target: the Real Review, an independent bi-monthly magazine which intends to "revive the review as a writing form" to a general readership within the architectural sphere, will soon be a reality. ArchDaily sat down with editors Jack Self and Shumi Bose to discuss how the project came into being and what this—the flagship publication of REAL—will look like when its first issue is published in early 2016.
Shumi Bose, Jack Self and Finn Williams have been selected to curate the British Pavilion at the 2016 Venice Biennale - "Reporting from the Front." Chosen by the British Council for their proposal "Home Economics," the team will "explore the future of the home through a series of full-scale domestic interiors."
“Home Economics addresses the frontline of British architecture: the family home," says the winning team. "The exhibition will ask urgent questions about the future of housing. Social and technological changes are collapsing the patterns of domestic life - but the design of the home hasn't caught up. Can the house ever escape its economic status as an asset? Should our homes still be considered private spaces? How do new types of families and households produce new spatial needs? What are the models of ownership, finance and work that make these conditions possible?"
A Kickstarter campaign recently launched by Jack Self and Shumi Bose of the Real Estate Architecture Laboratory (REAL) has reached its funding target in only twenty days. Produced by an independent team of editors and designers, this bi-monthly magazine intends to "revive the review as a writing form" to a general readership within the architectural sphere and its orbital subjects, with a particular focus on politics and economics. Their campaign has so far seen considerable support from the architectural community and beyond — testament to their 'no-ads policy' and dedication to paying their contributors.
In a statement to those who have pledged so far, the editors have said that "the Real Review will happen, and it is directly and completely due to your commitment, your vision and your generosity. We can’t thank you enough for getting us here!" They are now looking to surpass this crowdfunded milestone, with Kickstarter remaining the only way to subscribe.
The Real Estate Architecture Laboratory (REAL) have today announced a Kickstarter campaign in preparation for the launch of their flagship publication, the Real Review. Produced by an independent team of editors and designers, this bi-monthly magazine intends to "revive the review as a writing form" to a general readership within the architectural sphere and its orbital subjects.
The Real Review will be "a printed object of exceptional quality, featuring engaging texts by leading international commentators," alongside providing "a highly visible platform for emerging writers." Confirmed authors at this time include, among others, Assemble, Pier Vittorio Aureli (Dogma, AA), Reinier de Graaf (OMA), Sam Jacob (Sam Jacob Studio), and a rostra of journalists including the Financial Times' architecture critic Edwin Heathcote.
In an article for DesignCurial, Shumi Bose visits OMA's new galleries in Milan and Moscow: the Fondazione Prada and the Garage Museum of Contemporary Art. Noting that "the mythologies [between OMA and Miuccia Prada] have become inextricably intertwined" over recent years, "the purpose of [the Fondazione Prada] was to produce a range of spaces for the creation, display of and engagement with art; what results is the built realisation of a particular ethos, affording the protean OMA a return to form. And it was always going to be stylish." Bose's flowing description of the building and its spaces, which she ultimately praises as "a place which will bear return," leads into an equally compelling description of Garage for which she recognises its clear "contribution [...] in supporting, indeed composing, the very narrative of Russian contemporary art."