British architect and Pritzker Laureate Sir James Stirling (22 April 1926 – 25 June 1992) grew up in Liverpool, one of the two industrial powerhouses of the British North West, and began his career subverting the compositional and theoretical ideas behind the Modern Movement. Citing a wide-range of influences—from Colin Rowe, a forefather of Contextualism, to Le Corbusier, and from architects of the Italian Renaissance to the Russian Constructivist movement—Stirling forged a unique set of architectural beliefs that manifest themselves in his works. Indeed his architecture, commonly described as "nonconformist," consistently caused annoyance in conventional circles.
“When you read Love in the Time of Cholera you come to realize the magic realism of South America.” Yvonne Farrell, Shelley McNamara and I were in a corner of the Barbican Centre’s sprawling, shallow atrium talking about the subject of their most recent accolade, the Royal Institute of British Architects inaugural International Prize, awarded that previous evening. That same night the two Irish architects, who founded their practice in Dublin in the 1970s, also delivered a lecture on the Universidad de Ingeniería and Tecnologia (UTEC)—their “modern-day Machu Picchu” in Lima—to a packed audience in London’s Portland Place.
Pritzker Prize winning architect Jørn Utzon (9 April 1918 – 29 November 2008) was the relatively unknown Dane who, on the 29th January 1957, was announced as the winner of the "International competition for a national opera house at Bennelong Point, Sydney’." When speaking about this iconic building, Louis Kahn stated that "The sun did not know how beautiful its light was, until it was reflected off this building." Unfortunately, Utzon never saw the Sydney Opera House, his most popular work, completed.
This article was originally published on March 30, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.
Three were originally invited to draw up plans for a ‘Nordic’ pavilion: the Finnish partnership Reima and Raili Pietilä, Sverre Fehn from Norway, and the Swede, Klas Anshelm. Following the selection of Fehn’s proposal in 1959, Gotthard Johansson wrote in the Svenska Dagbladet of the project’s “stunning simplicity [...], without too many architectural overtones” – a proposal for a space able to unite a triumvirate of nations under one (exceptional) roof.
“Will you look at that? St. Mark’s Square is flooded!” An Australian day tripper is astonished. “This place is actually sinking,” her friend casually exclaims. They, like so many I’ve overheard on the vaporetti, are convinced that the Venetian islands exist on a precipice between the fragility of their current condition and nothing short of imminent submersion. With catastrophe always around the corner a short break in Venice is more of an extreme adventure trip than a European city-break. If it were true, that is.
Pritzker Prize laureate and 67th AIA Gold Medalist Fumihiko Maki (born September 6, 1928) is widely considered to be one of Japan's most distinguished living architects, practicing a unique style of Modernism that reflects his Japanese origin. Toshiko Mori has praised Maki's ability to create "ineffable atmospheres" using a simple palette of various types of metal, concrete, and glass. His consistent integration and adoption of new methods of construction as part of his design language contribute to his personal quest to create "unforgettable scenes."
Sweden is home to the world’s longest public bench. At 240 feet (around 72 meters) in length, the Långa Soffan (“long sofa”) was installed by the citizens of Oskarshamn in 1867 to overlook its rather unspectacular harbour, which opens toward the Baltic Sea. The function of this bench was not for passing time and taking in the coastal views, however; in times gone by it was rhythmically occupied by the wives of sailors awaiting their husband’s return from sea voyages. It allowed people to gather under a sense of common melancholy and collectively recall the smiles of their distant spouses before the ocean’s broad, blue canvas.
In one of his 1922 travel essays for the Toronto Star Ernest Hemingway wrote, in a typically thewy tone, of “a small, steep country, much more up and down than sideways and all stuck over with large brown hotels built [in] the cuckoo style of architecture.” This was his Switzerland: a country cornered in the heartland of Europe and yet distant from so much of its history. A nation which, for better or worse and particularly over the course of the 20th Century, has cultivated and become subject to a singularly one-dimensional reputation when it comes to architectural culture and the built environment.
Described by Richard Meier as an architect whose "groundbreaking ideas" have "had a major impact on the thinking of designers and architects," Austrian artist, architect, designer, theoretician and Pritzker Prize laureate Hans Hollein worked in all aspects of design, from architecture to furniture, jewelry, glasses, lamps—even door handles. Known in particular for his museum designs, from the Abteiberg Museum in Mönchengladbach to the Museum of Modern Art in Frankfurt to Vienna's Modernism.
Outside of our familiar feeds, social or otherwise, the Internet can be a daunting place. While information and interaction have never been easier, developing ways to get a handle on the quantity and pace of this crowded, if not valuable, world can often be difficult – it’s all too easy to find your digital life unintentionally isolated. In the architectural sphere, shared knowledge and a broad understanding of history and contemporary practice are all-important; discourse and conversation even more so. Are.na, a platform for collaborative and independent research, provides a new lens when surfing, capturing and contextualizing the content of the Internet.
In this third episode of GSAPP Conversations, Columbia GSAPP Associate Professor Mabel O. Wilson speaks with Sharon Sutton about the publication of her new book, When Ivory Towers Were Black, which tells the story of how an unparalleled cohort of ethnic minority students earned degrees from Columbia University’s School of Architecture (GSAPP) during a time of fierce struggles to open the ivory tower to ethnic minority students.
Rafael Aranda, Carme Pigem and Ramon Vilalta have been named as the laureates of the 2017 Pritzker Prize. Their projects emphasize materiality and craft – considered use of color, transparency (and thereby light) define an oeuvre which ranges from public buildings to houses, a kindergarten and a winery.
The three architects—all of whom are Spanish Catalan and originate from Olot, Girona (where they are all presently based)—have worked collaboratively together as RCR Arquitectes since 1988; they simultaneously graduated in Architecture from ETSAV, the School of Architecture in Valles (Escola Tècnica Superior d’Arquitectura del Vallès) a year prior. This 39th incarnation of the Prize represents the first instance in which three architects have been recognized at once, and only the second time—following Rafael Moneo in 1996—that Spanish practitioners have been honored.
The Serpentine Galleries have announced that the 2017 Serpentine Pavilion will be designed by Diébédo Francis Kéré (Kéré Architecture), an African architect based between Berlin, Germany, and his home town of Gando in Burkino Faso. The design for the proposal, which will be built this summer in London's Kensington Gardens, comprises an expansive roof supported by a steel frame, mimicking the canopy of a tree. According to Kéré, the design for the roof stems from a tree that serves as the central meeting point for life in Gando. In line with the criteria for the selection of the Serpentine Pavilion architect Kéré has yet to have realised a permanent building in England.
Benjamin Bratton, Professor of Visual Arts and Director of the Center for Design at the University of California, San Diego, is the new Programme Director at Moscow's Strelka Institute. The New Normal is based on the premise that "something has shifted. [...] We are making new worlds faster than we can keep track of them, and the pace is unlikely to slow."
Have our technologies have advanced beyond our ability to conceptualize their implications? "One impulse," the course advocates, "is to pull the emergency brake and to try put all the genies back in the bottle." According to Bratton, this is hopeless. "Better instead to invest in emergence, in contingency: to map The New Normal for what it is, and to shape it toward what it should be."
Cities across the world are full of white elephants – something which ArchDaily has recently explored. In the latest episode of Section D, Monocle 24's weekly review of design, architecture and craft, the team examine similar cases from the unfinished Palestinian Parliament to redundant projects in Belgrade. This edition also looks at the RIBA's new International Prize, which was awarded this year to Grafton Architects for their University of Engineering and Technology building in Lima.
In this film, presented in collaboration with +KOTE, the After Belonging Agency—Carlos Minguez Carrasco, Ignacio Galán, Alejandra Navarrese Llopis, Lluís Alexandre Casanovas Blanco, and Marina Otero Verzier—narrate a walkthrough of In Residence, one of the two core exhibitions at this year's Oslo Architecture Triennale: After Belonging – A Triennale In Residence, On Residence, and the Ways We Stay in Transit.
Welcome to the fourth installment of The Long(ish) Read: an AD feature which presents texts written by notable essayists that resonate with contemporary architecture, interior architecture, urbanism or landscape design. Ornament and Crime began as a lecture delivered by Adolf Loos in 1910 in response to a time (the late 19th and early 20th Centuries) and a place (Vienna), in which Art Nouveau was the status quo.
Loos used the essay as a vehicle to explain his distain of "ornament" in favour of "smooth and previous surfaces," partly because the former, to him, caused objects and buildings to become unfashionable sooner, and therefore obsolete. This—the effort wasted in designing and creating superfluous ornament, that is—he saw as nothing short of a "crime." The ideas embodied in this essay were forerunners to the Modern movement, including practices that would eventually be at core of the Bauhaus in Weimar.
The 2016 Lisbon Architecture Triennale, which opened last week, is comprised of a constellation of exhibitions and satellites. One such show—eponymously named The Form of Form—is both an exhibition and a structure in itself – a sequence of rooms designed collaboratively by Mark Lee of Johnston Marklee, Kersten Geers of Office KGDVS, and Nuno Brandão Costa. If "one of architecture’s fundamental legacies is its own form," the curatorial statement declares, "this exhibition [builds] a dialogue that challenges notions of authorship and the limits of form."