When completed, the Shanghai Tower, in Pudong, will feature an array of innovative engineering and energy-saving systems. Courtesy of Gensler, via Metropolis Magazine.
When the $1.9-billion project is completed next year, the 2,073-foot Shanghai Tower will become the world’s second-tallest building. The state-of-the-art, spiraling form, which is engineered to help it withstand typhoons, pays tribute to the city’s dynamic rise as a leading commercial center.
The super-tower also symbolizes the ascension—and resilience—of the firm that designed it. With 3,500 employees, Gensler operates 43 offices in 14 countries. Last year, the company worked on some 6,700 projects for about 2,200 different clients, reporting a record-breaking $751 million in revenue. This year, the company projects its revenues will be closer to $800 million—astounding figures considering the industry is emerging from one of worst economies since the Great Depression. “It’s been a serious downturn and a slow recovery,” says Kermit Baker, chief economist of the AIA. “From 2008 to 2011, architecture firms’ gross firm billings dropped 41 percent. Now, most firms are inching back, but very slowly.”
In a landscape still riddled with fallout, Gensler has managed to weather the recent economic storms. After cutting about 30 percent of its workforce in a nine-month period between 2008 and early 2009, the firm has rapidly rebuilt and now employs more staff and generates more revenue than ever before. Many in the industry today are scratching their heads: What’s Gensler’s secret?
IE School of Architecture & Design through its unique combination of design, innovation and management, expands the boundaries of traditional architectural education. IE welcomes students who seek challenges and aspire to become leaders in the dynamic world of architecture and design.
This article, which originally appeared as "Clients for Life: 6 Tips to Generate Leads and Build New Business" on Autodesk’s Line//Shape//Space publication, is by Ken Micallef; it features the advise of John Beveridge, a 30-year veteran in the management-consulting industry.
“Like most small businessmen,” Beveridge says, “I too am a small-business guy trying to compete with bigger companies, trying to generate leads.”
To that end, Beveridge stresses the importance of Internetmarketing. But creating a business website is only the first step.
See Beveridge's 6 tips to building business, after the break...
And this week's "punniest" title award goes to Fast Company (there was no contest, really). Beside the pun, of course, the article itself is pretty cool, outlining how Google Street View has followed-up on their latest intrepid capture of the Burj Khalifa with the 1889 classic: the Eiffel Tower. Read the article here and check out the fun video above!
Figure 1. On the left, mass-produced Art Nouveau silver jewelry box by P. A. Coon, 1908. On the right, hand-made Machine Aesthetic silver teapot by C. Dresser, 1879. Drawing by Nikos Salingaros.
This figure was published on April 2013 in the article “How Modernism Got Square” co-authored with Michael Mehaffy. It has been reproduced several times when reprinting the original article, and in essays by other authors who discuss our ideas.
And yet, the above figure subsequently re-appears with a new accompanying caption that completely reverses the facts and switches our original message. Well-meaning editors and authors chose the new caption “From Artisan to Industiral” (first here, and then again on ArchDaily), which conforms to the modernist orthodoxy on the evolution of historical design styles. They are in no way pushing modernism (being interested instead in my criticism of modernist design): it’s simply that the dogma is so pervasive in our civilization that the mislabeling becomes automatic, a conditioned response.
“Women are the ghosts of modern architecture, everywhere present, crucial, but strangely invisible,” writes historian Beatriz Colomina in “With, Or Without You,” an essay in the Museum of Modern Art’s 2010 catalog, Modern Women. “Architecture is deeply collaborative, more like moviemaking than visual art, for example. But unlike movies, this is hardly ever acknowledged.”
Colomina goes on to chronicle the history of modernism’s missing women, acknowledged, if at all, as working “with” Mies van der Rohe, Le Corbusier, Alvar Aalto, or Charles Eames. To put yourself in the shoes of Lilly Reich, Charlotte Perriand, and Aino Aalto, simply watch the cringe-worthy video of the Eameses on the Home show in 1956; Ray['s] introduced as the “very capable woman behind him” who enters after Charles has bantered with host Arlene Francis.
This spring, these ghosts came back to haunt us: Arielle Assouline-Lichten, a student at the Graduate School of Design at Harvard, read excerpts from an interview with Denise Scott Brown in which she mentioned her own absence from partner Robert Venturi’s 1991 Pritzker Prize. “They owe me not a Pritzker Prize but a Pritzker inclusion ceremony,” Scott Brown said. “Let’s salute the notion of joint creativity.”
Read all of Alexandra Lange's essay, after the break...
https://www.archdaily.com/402873/necessary-hauntings-why-architecture-must-listen-to-its-forgotten-womenAlexandra Lange
Videos
Oslo Central Station. Architecture: Space Group, www.spacegroup.no. Credit: Luxigon, www.luxigon.com.
In recent years the use of CAD and simulation programs has resulted in a new understanding of light in architecture. The drawing board and its lamp have given way to the self-illuminating monitor. The result is that concepts in architecture are now made of light from the very first mouse click. In the visualisation process, luminous space now predominates.
However, this begs the question: has the luminous impression (part and parcel of the perfect, rendered setting) become more important than the engineering or architectural concept itself? With the improved interplay of shades, contrast, and brilliance, can lighting actually obscure the point of a realistic simulation?
Brooklyn Brewery, Williamsburg, Brooklyn. Courtesy of Flickr User Wally Gobetz. Used under Creative Commons
Gentrification has been a running theme in the social and economic fluctuations that occur in cities. Between housing booms and busts, the revitalization of small manufacturing and the shifting populations cities grow and change organically, subject to a variety of trends. In an article in Business Insider, Tali Arbel traces urban revival by following the successes of craft breweries that have sprung up in desolate and blighted neighborhoods. Brewers have found a home in cities full of abandoned warehouses and factory buildings where real estate is available and affordable. As these neighborhoods become more affluent, rising in trendiness and popularity, they are beginning to price out these same businesses that helped establish them. Where are these businesses to go and how can gentrifying neighborhoods protect social and economic diversity?
Charles Correa, considered one of India's greatest architects, is celebrated for his post-war work in India in which he connects modernism with local traditions. Digital magazine, uncube, has dedicated a full issue to this renowned architect and includes reviews of the RIBA exhibition currently on view in London, a look at his most influential architectural projects, assesses his role as urbanist and planner, and an interview in which Correa reflects on his own career.
With the rise of urban dwellers comes the rise of urban waste. And, although the hidden life of garbage is still ignored by many, there is no way of escaping one of modern societies most pressing issues: unsustainable waste management. Though many plausible and obvious solutions have already been suggested and are ready to be implemented, some experts are proposing radical solutions that may one day be a reality.
I get most of my knowledge about the current trends and interests of architects through social media and various websites. My Facebook newsfeed constantly shows an array of pictures, articles, and videos of things ranging from new buildings to data algorithms to bacteria evolution to (usually confusing) romantic, poetic statements about architecture.
They all share one thing in common: they are posted on Facebook by architects and architecture students. To me, this shows the current disarray and lack of focus in the field. Architecture publications and websites only confirm my thoughts further. And nothing reaffirms this more than my daily experiences at MIT.
Earlier this week we received an impassioned request from one of our US readers. Architect Stephan Jaklitsch requested that we refrain from referring to architects as "star architects" or "starchitects." Not only did we agree to retire this problematic and shallow descriptor of some instrumental members of our profession, but we wanted to reprint his letter here.
In my previous article, I mentioned that I had been a CAD manager in a past life and that there were many hats I used to wear. One of these hats was training manager for the CAD department. I was the guy who liaised with HR, organizing and budgeting for the training my CAD employees needed. The big question was, what sort of CAD training did they need? Did I send both permanent and agency (freelance) CAD employees to take the courses, or did I let the agency folks fend for themselves? No matter what, they are your CAD team and everyone should get the same training, but the agency guys should be careful of their tax position when accepting training from a client under contract. All of this has to be taken into account when you have a finite training budget to spend.
But training on CAD software is imperative. Your CAD employees need to be the best on the software they use and not develop bad habits. They need the core training, plus the experience, plus supplemental training on new versions as they are released. (Each year in the case of Autodesk, right?)
Get the 4 Tips to Getting the Best CAD Team you can, after the break...
Our friends at Arup Connect spoke with Matt Williams, a leader of the façade engineering group in Arup’s Americas region and one serious sketcher, about the role of sketching in the digital age. The following interview, originally titled "To Sketch or Not to Sketch," discusses how sketching enables communication and how our over-reliance on technology isn't really as efficient as we may think.
One of the things we’ve been trying to develop in the façades group is people who can relate to the architect, developing and responding to the key architectural requirements. Having come from an architectural background myself, historically there seems to be a bit of a conflict, if that’s the right word, between architects and engineers. There shouldn’t be, though. Everyone wants the same thing at the end of the day: a successful project.
Read the rest of the interview, after the break...
Tadashi Kawamata is one of my favorite artists. Not simply because the work is somehow architectural but because much of it surprises by appearing to have been thrown up in secret. Though obviously sanctioned there is an illicit quality to it. It’s dirty, rough, and seemingly improvised out of found materials—though obviously the work of such an acclaimed, grant-receiving artist is not carried out this way.
I have no problem with such appearances. The problem arises from the manner in which such appearances toy with reality when the reality is clearly not one’s own, but merely mined for shock value.
SKALGUBBAR is a library of free high-resolution images of people that can be used in renderings and photomontages. The idea for this immense virtual library came to Teodor Javanaud Emdén when he was in architecture school. He realized that it was complicated to find images of people on the internet, and that when he did find them the color quality and resolution were not good enough. Because of this, he decided to photograph his friends and use their likenesses in his projects; his friends also used these images in their own projects since Teodor shared his pictures on a website.
This week we revisit a classic, a masterpiece by Jacques Tati. In the movie, Tati depicts modernism's problematic impact on the city and the way in which people interact within it.
The movie's carefully considered environment shows characteristics of the modernist movement at that time: repetition and regularity (the result of industrialisation) are represented from the smallest objects in the interiors to the larger scale of the city's urban plan. Enjoy this great movie and let us know your thoughts about Tati's take on modernism.
