Alexey Kozhenkov is a freelance photographer currently based in Russia, with a strong interest in urbanism, architecture and man-made structures. Kozhenkov was born in 1993 in Riga, Latvia and became a self-taught photographer after graduating from university.
What happens when the sensor-imbued city acquires the ability to see – almost as if it had eyes? Ahead of the 2019 Shenzhen Biennale of Urbanism\Architecture (UABB), titled "Urban Interactions," ArchDaily is working with the curators of the "Eyes of the City" section at the Biennial to stimulate a discussion on how new technologies – and Artificial Intelligence in particular – might impact architecture and urban life. Here you can read the “Eyes of the City” curatorial statement by Carlo Ratti, the Politecnico di Torino and SCUT.
Technologies of the virtual realm present an opportunity to rethink the experience of space, society, and culture. They give us the possibility to engage with the city of the future, shaping the built environment of the 21st century.
The principal architect of LA firm Morphosis, Thom Mayne (born January 19, 1944) was the recipient of the 2005 Pritzker Prize and the 2013 AIA Gold Medal, and is known for his experimental architectural forms, often applying them to significant institutional buildings such as the New York's Cooper Union building, the Emerson College in Los Angeles and the Caltrans District 7 Headquarters.
Mies van der Rohe Foundation together with Side Gallery presented "No Fear of Glass", an artistic intervention in the Mies van der Rohe Pavilion in Barcelona, Spain, developed by designer Sabine Marcelis.
Architects and designers are constantly looking to the latest design and façade trends to create attractive buildings for their clients. The challenge they face is delivering a creative look that meets building code compliance and testing standards. With high-rise buildings in particular, it is critical that the materials used for the building's construction perform effectively to prevent a disaster if a fire occurs.
The Midnight Charette is an explicit podcast about design, architecture, and the everyday. Hosted by architectural designers David Lee and Marina Bourderonnet, it features a variety of creative professionals in unscripted conversations that allow for thoughtful takes and personal discussions. A wide array of subjects are covered with honesty and humor: some episodes provide useful tips for designers, while others are project reviews, interviews, or explorations of everyday life and design. The Midnight Charette is also available on iTunes, Spotify, and YouTube.
This week David and Marina answer a call in from a listener asking if they should enroll in IPAL (NCARB’s Integrated Path To Architectural Licensure) in undergraduate school to become a licensed architect in the United States and if IPAL should be a factor when choosing their school. The two also discuss the pros and cons of becoming a licensed architect during school.
A facade must meet steep requirements as both the first skin that protects a building, its interiors, and its materials, and as the first thing a person sees. In addition to weather resistance and durability, its appearance is extremely vital for any architectural project. Prefabricated facade panels provide a clean, precise, and sophisticated finish to buildings and sport high versatility through different patterns and shapes.
Photoshop is one of the most universal, enduring, and valuable programs in the designer’s taskbar. The go-to tool for students and architects for image-based editing, collages, and rendering, the popularity of Photoshop has given rise to countless online tutorials, tips, and resources. As we demonstrated over a year ago with our extensive library of 100 Photoshop textures, there is great value for designers in having a single, collated, one-stop service for quickly accessing the multitude of free resources available online.
The passage of time will alter, erode, and in most cases, degrade any architectural structure. Whether this be the result of climate, adaptation, misuse, or even war, all buildings are subject to the same life cycles of steady, or extreme, decline. In recent decades, “adaptive reuse” has gained significant traction as a means of breathing new life into an old structure, offering an often complex challenge for designers, architects, and indeed everyday users, who walk a fine line between a respectful restoration of history, and significant adaption for modern needs.
Entries to the 6th International LafargeHolcim Awards for sustainable construction will close on February 25, 2020. The competition seeks projects by professionals as well as bold ideas from the Next Generation that combine sustainable construction solutions with architectural excellence. The Awards accept projects and concepts from architecture, engineering, urban planning, materials science, construction technology, and other related fields.
Forty percent of the human population lives within 100 kilometers of a coastline, with one in ten living under ten meters above sea level. As climate change induces more volatile flooding events and long-term sea level rises, it is estimated that coastal flooding could cause as much as $1 trillion of damage per year by 2050. We cannot escape the reality that cities, and their populations, are more vulnerable to flooding than ever.
in 2019, the Bauhaus turned 100 and a crop of museum buildings sprang up for the celebration.
In 2019, two museums bearing the name Bauhaus appeared on the German culture circuit. Angling to capitalize on the design school’s centennial, the Bauhaus Museum Weimar was first out of the gate, opening in early April; a few clicks behind, the Bauhaus Museum Dessau followed suit in early September. A third project, the much-delayed extension to Walter Gropius’s 1979 Bauhaus- Archiv/Museum für Gestaltung in Berlin, did not manage to keep pace and isn’t expected to open for a couple more years yet.
While 2019 saw the completion of great works of architecture, it has also been a busy year for unbuilt designs. Whether this consists of imaginary visions intended to broaden horizons and innovations, or practical projects intended for construction, ArchDaily has published a wealth of unbuilt projects throughout the year that have been recognized and celebrated by juries, peers, and institutions.
As the year draws to a close, we look back at the top competition-winning architecture of 2019. From built competition-winning entries from the world’s leading firms, to student and young architect entries which imagine the architecture of the future, the list offers an insight into what the architecture world has in store for the next year, decade, or even century.
This article was originally published on Common Edge on Dec 23, 2019.
As 2019 winds down, the media has started its annual ritual of taking stock, compiling lists, looking back. In the architecture world, the year’s biggest news story was arguably the Notre-Dame fire. The image of the cathedral’s burning roof—a wrenching sight—filled TV and computer screens around the world and occasioned an outpouring of grief, especially in France, where the building holds a central place in the nation’s collective consciousness. It was an architectural tragedy as well as a cultural one. No doubt: the April inferno struck at the very heart of France.
Designers have fixated on the visual culture that wrought Casio wrist watches and Superstudio. Mario Carpo explores the reasons why.
What happens when the sensor-imbued city acquires the ability to see – almost as if it had eyes? Ahead of the 2019 Shenzhen Biennale of Urbanism\Architecture (UABB), titled "Urban Interactions," ArchDaily is working with the curators of the "Eyes of the City" section at the Biennial to stimulate a discussion on how new technologies – and Artificial Intelligence in particular – might impact architecture and urban life. Here you can read the “Eyes of the City” curatorial statement by Carlo Ratti, the Politecnico di Torino and SCUT.
Last April, Mayor Bill de Blasio of New York announced plans to introduce a bill that would ban the construction of new all-glass buildings. Part of a larger effort to reduce citywide greenhouse emissions by 30 percent, other initiatives included using clean energy to power city operations, mandatory organics recycling, and reducing single-use plastic and processed meat purchases. The announcement came on the heels of the city council passing the Climate Mobilization Act, a sweeping response to the Paris Climate Agreement that included required green roofs on new constructions and emissions reductions on existing buildings.
Odile Decq was born in 1955 in Laval, France and studied at École Régionale d'Architecture in Rennes, Brittany. She graduated from the École Nationale Supérieure D'architecture in Paris-La Villette in 1978 and received her diploma from the Paris Institute of Political Studies in 1979. Decq set up her practice in Paris the same year and soon met Benoît Cornette who was studying medicine at the time but switched to architecture. By 1985 he received his architecture degree and the couple renamed their firm into ODBC. In 1996, ODBC won the Golden Lion in Venice for their drawings, selected out of a pool of invited emerging voices that included Zaha Hadid, Enric Miralles, and Liz Diller and Ric Scofidio. That was the beginning of the computer drawings, expressing movement, ambiguities, layering, and overall new dynamics that characterize Decq’s liberated forms and spaces.
