Former Head of Content. Prior to assuming her role at ArchDaily, Becky worked as an editor for leading architecture firms OMA/AMO, BIG (Bjarke Ingels Group) and Reiser + Umemoto. She also worked as an editor for Princeton University School of Architecture and Harvard University's Graduate School of Design. She holds degrees from Princeton University, Harvard University and the School of Visual Arts.
This year's French Pavilion stood out as one of the best pavilions in the Giardini, communicating a clear, engaging thesis and receiving a Special Mention from the jury.
Curator Jean-Louis Cohen poses four questions throughout four galleries, demonstrating the contradictions that fill the story of modernity and architecture in France. The ambivalent responses of architecture to the original promise of modernity is shown through the juxtaposition of a continuous cinematographic montage (playing simultaneously throughout all four galleries) and large-scale objects.
Watch an excerpt from Teri Wehn Damisch's film and read the curator's statement after the break. For a virtual tour of the space designed by Paris-based firm Projectiles, follow this link. And make sure to keep an eye out for our video interview with curator Jean-Louis Cohen (coming soon).
Before starting down the arduous path of the life of a designer, those who have been there before you will insist on one thing: you must be passionate about what you do. Music brought Nathanael Balon to California, where he ended touring with his neighbor Sonny Moore (you probably know him as Skrillex). But 40 days into his second world tour he woke up wishing he were doing something else. Nathanael dreamed of building.
His desire to "build beautiful things" culminated in the creation of WoodSmithe, a company that designs and constructs retail environments, window displays and trade-show booths. Get a glimpse into Nathanael's courageous move in the short video above and read on to find out about a group of people who have made bold decisions to follow their dreams.
The awards ceremony for the 14th International Architecture Exhibition have just wrapped and the results are in!
Rem Koolhaas, the director of the Biennale, Paolo Baratta, president of the Biennale, and the jury presented the awards for Lifetime Achievement and International Participations. The jury recognized that the Biennale was a tremendous opportunity to produce and share knowledge about modernity -- especially praising its role in uncovering and dissecting new areas of influence in the architecture world.
The Golden Lion for Best National Participation went to Korea for "Crow's Eye View: The Korean Peninsula" The jury cited Korea's "extraordinary achievement of presenting a new and rich body of knowledge of architecture and urbanism in a highly charged political situation."
Chile received the Silver Lion for a National Participation for "Monolith Controversies". The jury said, "Focusing on one essential element of modern architecture - a prefabricated concrete wall- it critically highlights the role of elements of architecture in different ideological and political contexts."
The Silver Lion for best research project in the Monditalia section went to Andrés Jaque/Office for Political Innovation for "Sales Oddity. Milano 2 and the Politics of Direct-to-home TV Urbanism."
To kick off our coverage of the Venice Biennale, we're bringing you photos of OfficeUS -- the United States' contribution to the national exhibitions organized under the theme of "Absorbing Modernity." The pavilion houses both a repository of information about the history of architectural firms in the US (with a focus on the US's role in exporting architecture) and serves as the base of operations for a new architectural firm that was created solely for this year's biennale. The research, collected into booklets, lines the walls of the space. While visitors mill around the pavilion, the members of OfficeUS work at specially designed tables. The output and deliverables of the office will be determined as the Biennale progresses. We also got the chance to speak to the organizers, so stayed tuned for video interviews with the curators and designers of the US Pavilion (coming soon!). For now, however, read on to the see the curator's statement on the exhibit.
From the Organizers. Europe is currently experiencing a paradigm shift from national to urban identities. As its boundaries become increasingly blurred, each city is claiming an identity of its own. Europe is predominantly urban, and the condition of the European city is related to a stratification of architectures, functions and events which, palimpsest-like, shape a compact, complex understanding of the urban experience that embraces its architectonic heritage, industrial development, social housing, archaeological sites, modern infrastructure and the cities rebuilt after WW2.
The globalisation process began with the emigration of artists and architects during WW1, and continuing with the exodus due to the rise of the Nazi Party in Germany and the start of WW2. In this sense, Europe acted as a transmission device, the key node in a complex process of emission and assimilation. Today we live in a liquid reality whose theme is permeability, a reality in which professionals and intellectuals can move across porous borders.
Palazzo Michiel. Image Courtesy of Fundació Mies van der Rohe
"Is there a distinguishing feature in European architecture beyond the fact that it is 'Made in Europe'?" This question (and others) will be answered in an exhibition which highlights the archives of the European Union Prize for Contemporary Architecture – Mies van der Rohe Award. Coinciding with the 2014 Venice Biennale, The European Commission and the Fundació Mies van der Rohe present “Made in Europe.” Showing a unparalleled and unique examination of the development in architecture over the past 25 years, the exhibition will draw on material from Europe's largest collection of documents (more than 2,500 projects and 230 original models) on contemporary architecture.
Giovanna Carnevali, director of the Fundació Mies van der Rohe, explained “This raw archive is physical evidence of time. It has the potential for multiple interpretations: different “histories” are made possible, illustrating the richness and the evolution of national architectures.”
A statement from The Glasgow School of Art's Muriel Gray paints a somber picture of the aftermath of yesterday's fire: "Bad news first is that we have lost the iconic and unique Mackintosh library. This is an enormous blow and we are understandably devastated."
The fire, which broke out on Friday, May 23 at around 12:30pm, caused an outpouring of grief on social media. Though many speculated as to the fate of the library, the archives, and the building's structural integrity, the report brings confirmation that the archives are "safe."
Gray added, "As for the library, Mackintosh was not famous for working in precious materials. It was his vision that was precious and we are confident that we can recreate what was lost as faithfully as possible."
"We encounter similarities and difference, but what we encounter more than anything else is how intensely all these seemingly stable elements are evolving in time. Sometimes with acceleration, sometimes with moments of stagnation, but actually they are constantly changing. So what seemed to be a look at the repertoire is actually turning into a look at how nothing is stable." - Rem Koolhaas
The Harvard GSD has released a video from the Fall 2013 study abroad studio in Rotterdam, the Netherlands. The students who relocated to Rotterdam for last year's fall semester worked on the "Elements of Architecture" exhibition that will open in the Central Pavilion during the 2014 International Architecture Exhibition in Venice, Italy. Watch Rem and the students reflect on their research, after the break...
Our very talented friend Federico Babina has been responsible for some of ArchDaily's most popular posts lately. The creativity behind his ARCHISET, ARCHIMACHINE, ARCHIPORTRAIT, ARCHIST, ARCHIBET and ARCHICINE have garnered thousands of shares on social media. Since we loved Babina's serialized architectural illustrations, we were thrilled when he saw his latest set: the ArchDaily logo imagined in and around the world's classic architecture. Read on for our interview with the architect and graphic designer.
ArchDaily: Can you introduce yourself? Federico Babina: My name is Federico Babina. I am an Italian architect and graphic designer (since 1994) that lives and works in Barcelona (since 2007). But mostly I've been a curious person (since forever).
AD: What's an interesting fact about you? FB: Every day I try to rediscover a way to observe the world through the eyes of a child. Children are able to have a vision of things totally uninhibited and without the conditioning of the experience. Children's drawings are always amazing and beautiful in their spontaneous simplicity and clarity. I like trying to explain the world I see through different techniques of expression. I like the richness of the language and the diversity of its forms. I do not want to confine me in a prison of a style or shape.
AD: In what ways does your training as an architect affect your style as an illustrator? FB: Any architect has to explain his projects through illustration and drawing. Design is the first way to give shape and body to a project. In this sense every architect should be a graphic designer. I was born with illustration. It’s been part of my life since I was a child. I started with book stories, I passed through the comics and then I arrived to architecture. Drawing and illustration and making architectural projects are, for me, one of the ways to recount and capture thoughts, feelings and emotions. Every project has a story and every project is a witness of a story. I 'm fascinated by the idea of being able to blend the world of architecture and illustration: transform the architecture in an illustration and illustrations in an architecture.
Don't miss this exciting opportunity from our friends at Canal 180! The entry period for a competition to design an urban intervention for the city of Abrantes in Portugal has now opened. As a member of the jury, ArchDaily will have a hand in selecting winners that will travel to Abrantes in mid-July to see their design realized during 180 Creative Camp. The deadline for application is June 8th. Check it out and enter now!
Summer DLAB experiments with the integration of algorithmic / generative design methodologies and large scale digital fabrication tools. Continuing its color based agenda, Summer DLAB immerses in ‘white’ for its 2014 cycle, as a starting point to investigate natural formation processes and interpret them as innovative architectonic spaces. ‘White’ becomes the means of looking into extreme natural conditions which it is associated with. Concepts of emergence, differentiation, and complexity shape the theoretical framework of this investigation. Natural structures of differing scales are observed, which are then abstracted and interpreted into elaborated design proposals. The computational process of Summer DLAB is based on generative design algorithms, as can be seen in natural growth patterns such as the Lindenmayer system and fractal theory. These concepts are carefully interwoven with interaction and participatory design in order to create full-scale working prototypes.
AA Greece Visiting School is a mobile workshop series which travels and reaches cities outside the country’s capital. It functions as a ‘satellite’ of education that promotes the Architectural Association’s exclusive, intensive form of teaching and learning around the country. AA Greece VS aims on visiting a different city each year and construct a single large-scale model which will act as an active nod of communication among the various locations. In 2014, the School will initiate its design agenda with an architectural approach that is focused on the aspect of connection. The city of Patras which is the starting node of AA Greece VS was chosen by the European Commission to be the European Capital of Culture for the year 2006. The concept of the event revolved around the main theme of "Bridges" and "Dialogues", drawing benefit from the city's rich history and its position as a "Gate to the West", to underline the essence of the productive interaction of culture and civilizations in Europe. The AA Greece Visiting School will investigate how well existing buildings with various sightlines and variant spatial grammars perform according to human perception. In sync with the flexible and adaptive concept of parasitical structures, the research focuses on the making of transformable large-scale creations that accentuate prominent architectural features of existing buildings. The research looks at how cultural factors, personal preferences, experiences, and expectations can lead to the transformation of architectural parasitical structures.
The Monditalia team has treated us to a sneak preview of what one can expect to see in the Arsenale when the Venice Biennale launches early next month. The Monditalia exhibition forms one of the three main parts of this year's Rem Koolhaas-led Biennale. To keep you up-to-date on all the latest Biennale coverage, we're holding a #CountdownVenice2014 - so be sure to follow ArchDaily on Twitter!
Apertures reflect a current architectural discourse of digital ecologies, emphasizing the relationship between the natural world and advances in digital technology, which leads to a new type of interactive, organic buildings. The installation focuses on a symbiotic relationship between nature, building morphologies, and material expression.
Do you think your project has what it takes to win an INSIDE award? The deadline (May 30th) is fast approaching, so make sure to submit your projects soon! Divided into 12 categories -- which include Residential, Retail, Transport, Office and more -- entries will be judged by distinguished designers (judges confirmed for 2014 include Fabio Novembre, Matteo Thun, Jaya Ibrahim, David Kohn, Joyce Wang, Voon Wong and Chris Lee). In October, architects and interior designers will meet in Singapore for the INSIDE Festival, which is held alongside the World Architecture Festival. During the festival, the category winners will compete for the ultimate prize: World Interior of the Year.
From CLOG. In many countries, architects assume that designing to meet the local building code assures that their buildings are safe for the public. But what if a building’s harm is not in the risk of the building falling down, but in the building performing as intended? If designed for the wrong purpose, can a building be a human rights violation, and if so, what should an architect do about it?
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