Given the sheer magnitude and influence of its recorded history, Italy as we know it is a surprisingly young country. For centuries, the region was divided between powerful (and sometimes warring) city-states, each with their own identity, culture, and, fortunes, and influence. Some are eternally famous. Rome is a cradle of history and heart of religion; cool Milan is a hub of contemporary fashion and design; Florence is synonymous with the Renaissance and all the epoch’s relationship to the arts.
Turin’s history is arguably less romantic. The small city in Savoy, a north-Italian region bordering France, has established an identity as an industrial powerhouse. It is home to FIAT and some of Italy’s finest universities; the streets are dotted with works by Nervi, Botta, and Rossi. But despite the design pedigree, perhaps nothing better illustrates the region’s faceted history better than Castello di Rivoli.
"When I am asked what I believe in, I say that I believe in architecture. Architecture is the mother of the arts. I like to believe that architecture connects the present with the past and the tangible with the intangible."
Architecture, unlike other aspects of culture (such as fashion or music), can only really be experienced and understood in person. For highly branded companies, designing a new building can be a prime opportunity to signal taste and values - but also creates an interesting architectural conundrum. While the buildings will be inhabited (nearly 24/7) by company employees, they’re also very much populated by the imaginations of people across the globe. What is it like to be in these places?
With its flashbulb neighbor to the south taking much of the spotlight, few know the extent of Canada's involvement in the film industry. The recently announced Canadian Pavilion for the 2020 Venice Biennale, curated by Montreal based practice T B A and McGill academic David Theodore, aims to change that.
Now in the midst of its annual awards program, the Royal Institute of British Architects (RIBA) has announced the 12 projects shortlisted for recognition in its East Midlands district. RIBA has also recently announced its shortlists for new projects in its London, East, North East, and South West districts.
The Council for Tall Buildings and Urban Habitat has announced that Norway's Mjøstårnet tower is, at 85.4 meters, officially the world's tallest timber building. Beyond the unique distinction, the tower is also Norway's tallest mixed-use structure and third tallest building.
As part of the RIBA annual Regional Awards programme, 23 architectural works and one masterplan have been shortlisted for the RIBA East awards. These projects cover a range of types, from homes to schools to follies, and represent some of the finest work produced in Britain in the last year.
Morpholio has unveiled AR Sketchwalk, a new augmented reality tool geared towards helping architects bridge the gap between model and reality. Released today, AR Sketchwalk allows designers to use augmented reality to dive into their sketches to give both their clients and themselves a truer sense of the space.
Sir Terry Farrell to speak about his long and varied career in architecture. Farrell, who is known for his exuberantly postmodern works in Britain, tells of how he became interested in architecture, the role architects will play in our rapidly urbanizing world, and speaking openly about our cities.
"Isn't it fascinating how this simple act of drawing a line on a map can transform the way we see and experience the world?" asks Ronald Rael in his December 2018 TED Talk. "And those lines on a map can create scars in the landscape and scars in our memories."
Data-driven design has been a holy phrase in architecture for some time now. The ability to refine and apply information on any range of topics, from movement to sun paths to air quality, hold enormous potential to positively impact design not just for one party but for all. Decisions can be made faster, buildings can be built better, inhabitants can be made more comfortable.
Arata Isozaki has been named the 2019 laureate of the Pritzker Prize for Architecture. Isozaki, who has been practicing architecture since the 1960s, has long been considered an architectural visionary for his transnational and fearlessly futurist approach to design. With well over 100 built works to his name, Isozaki is also incredibly prolific and influential among his contemporaries. Isozaki is the 49th architect and eighth Japanese architect to receive the honor.
Said the jury of Isozaki in the award citation: “...in his search for meaningful architecture, he created buildings of great quality that to this day defy categorizations, reflect his constant evolution, and are always fresh in their approach.”
Kevin Roche, the Irish-American architect and Pritzker laureate known whose modernist sensibility transformed America’s post-war cultural and corporate institutions, has died of natural causes in his home in Guilford, Connecticut. News of Roche’s passing was first posted to the website of his office, Kevin Roche John Dinkeloo and Associates late on 02 March. He was 96 years old.
The curatorial team of the fifth edition of the Tallinn Architecture Biennial (TAB), for which ArchDaily is a proud partner, has announced the winner of their installation program “Huts and Habitats”. The winning proposal, Steampunk, designed by SoomeenHahm Design, Igor Pantic and Fologram (UK), was chosen from a shortlist of more than 137 international submissions.
While the next edition of the Venice Biennale for Architecture is still more than a year away, the Art Biennale sister event is right around the corner. Ghana, for whom this will be their first ever foray into the major art event, has announced their pavilion lineup and designer - none other than Sir David Adjaye.
As industry has shifted over the past century, in format, location, and type, the manufacturing and industrial spaces scattered across the western world have been repurposed. You have no doubt seen these structures, though perhaps without realizing. The large windows, high ceilings, and open floor plans optimized for factory work now mark the territory of the “creative class”. Such spaces have been disproportionately appropriated by creative industries such as arts and architecture; think of Herzog + de Meuron’s renovation of the Tate Modern (from a former power station) or the recent collaborative transformation of a locomotive yard into a library in the Netherlands.