ArchDaily Interviews: The Latest Architecture and News

This interview was completely conducted and translated by Marco Masetti, done as his bachelor’s degree thesis in Italy.

The idea of multiplicity is innate in Peter Zumthor’s projects since his very first works: works of art surrounding us put on various meanings, which do not always remain on parallel levels combining well with dialectical relationships. The vague is planned strictly, holding by the rules of the architectural language. Beauty is in the undetermined, the multiple, but it is obtainable only through precision. Multiplicity of objects is shown only when who is living with them can distinguish their single parts and, at the same time, can see the work in its wholeness. This throw back to the “unitary” character of architecture, in which every part is in relation with the others and together they give a sense to the project. Zumthor’s planning is pure: nothing is pointless. In this society, as the architect says, «architecture has to oppose resistance», and react to the naughtiness of shapes and meanings, and return to talk its own language. Original shape invention or particular composition doesn’t take to the truth. Between multiplicity and silence there’s a tense and vibrational relationship, and the concrete idea is in their equilibrium.

Things determine the spatial dimension of the world, and therefore its knowledge and usability to us. The project triggers a linking mechanism between things, so they can assume a meaning to the user, becoming an efficient tool to know of the world. Things, objects, the world of references, transform our sensations in remembrance. The pictures that come to mind enclose Zumthor’s research heart. Shape is the result, not the reason. Beauty doesn’t come out of the shape alone, but of the multiplicity of impressions, sensations and emotions that the shape has us to discover.

When I visited Chicago, I had to visit one of the key actors on shaping a city that breaths architecture, from big part of the skyline to the Millenium Park: SOM.

I have visited SOM before, to interview Craig Hartman at the San Francisco office, but Chicago was were it all started back in 1936 with Louis Skidmore and Nathaniel Owings, and John O. Merrill who joined in 1939.

This time I interviewed Philip Enquist (FAIA), the partner in charge of urban design and planning. Philip has been involved in development and redevelopment initiatives for college campuses, existing city neighborhoods, new cities, rural districts, downtown commercial centers, port areas and even in a master-plan for the entire nation of Bahrain.

It was amazing to hear from him on different processes that have been shaping the most important cities in the world, such as Beijing’s Central Business District or the master plan for the Millenium Park. But I was also surprised about a project we presented to you earlier, the vision for the Great Lakes area, a project that shows a lot of responsibility as an architect and an example that we still have a very important role in our society.

After the break, the usual questions a bonus with what’s a good city, and some photos of the office.

Sustainability has become one of the main issues when designing for any architecture practice around the world, and not only thinking in technological aspects but also in the quality of the community environment. Awarded with the Young Architect Award by AIA Seattle, b9 Architects creates innovative, sustainable, modern architectural solutions utilizing open, connective spaces and maximizing access to natural light. Working through a comprehensive design process, they translate initial concepts into form through text, drawing and modeling, utilizing rhythm and pattern in order to create moments of contrast and difference. Through thoughtful site planning, energy considerations, daylighting and material choices, b9 Architects are committed to working towards achieving carbon neutrality in our built environment.

With this introduction, we would like to present an interview we made to Bradley Khouri, AIA, the Principal and founder of b9 Architects inc. Their work focuses on creating positive change in the urban environment through innovative place-specific modern architecture. Supporting sustainable, transit oriented, walkable communities, b9’s completed works include urban single- and multi-family housing projects, live-work dwellings and commercial interiors.

During the 2010 AIA Convention in Miami Beach we had the opportunity to sit down with George H Miller, AIA President.

George is also a partner at Pei Cobb Freed & Partners. Given his position as a partner on one of the most recognized firms in the US and as the voice of the architects through the AIA, George has a very good idea on the current state and future of the profession. We did our usual set of questions, but also included two things that I find very important: The importance on pushing IPD and the role of the AIA during the financial crisis (and what lessons can be learned after it). We also recommend you to read our article on his position regarding small business taxes, part of his efforts to improve the way architects practice in the US.

We published each question as a separate video so you can easily watch them. On a side note, there is some audio noise due to a bad mic placement. My fault, won´t happen again.

This interview first appeared in Assembly, a new magazine that ArchDaily contributor Sarah Wesseler is working on.

According to the United Nations, 1 billion people currently live in slums. Over the next two decades, this figure is expected to double. In recent years, slums (also known, more neutrally, as informal settlements) have increasingly attracted positive attention from academics and design professionals impressed by their efficient deployment of scarce resources, community-based orientation, and entrepreneurial vitality. Architect Rem Koolhaas celebrated the slums of Nigeria in his 2008 book Lagos: How It Works, while Teddy Cruz has become well known for his work with shantytowns on the U.S.-Mexico border. And no less a traditionalist than design enthusiast Prince Charles, prone to harsh public attacks on contemporary architecture, has championed Dharavi, the Mumbai neighborhood portrayed in Slumdog Millionaire, praising its “underlying, intuitive ‘grammar of design’” in a 2009 speech.

Detractors claim that these and similar attempts to examine the slums through the lens of design romanticize poverty and ignore the sociopolitical forces responsible for their creation and proliferation. However, although some projects involving informal design are doubtless better conceived than others, in general there can be no real question that it is appropriate for architects and planners to concern themselves with a phenomenon fundamentally tied to design-related issues such as land use, infrastructure, and materials. And given the failure of so many top-down modernist schemes for housing the poor over the past century, it is logical for the profession to turn its attention to a housing model which continues to mushroom organically around the globe: the shantytown.

An ongoing research project being carried out by 26’10 South Architects, a young South African firm headed by husband-and-wife architects Thorsten Deckler and Anne Graupner, provides an interesting look into this type of work. The couple have spent the past year and a half studying the spatial dynamics of Diepsloot, a Johannesburg suburb created in 1994 to house the poor. Today, approximately three-quarters of Diepsloot’s residents live in slums.

The interview after the break.

Over the past decade, sustainable design has been transformed from a fringe movement to big business. However, given the sheer scale of the environmental damage caused by the built environment, it’s clear that far more must be done. To prevent future catastrophes, the industry must both scale up its green initiatives and increase their effectiveness.

On the quantity front, the entity most responsible for the explosion of green building is LEED. Developed in 2000 by the US Green Building Council (USGBC), the voluntary project rating system has won over the industry by providing both a convenient set of guidelines for sustainable practices and a clear marketing incentive for designers and firms to go green (or at least appear to).

While in Croatia, I took some time to visit Ljubljana, Slovenia, and interview OFIS Arhitekti. The practice was founded in 1998 by partners Rok Oman and Spela Videcnik, both graduates from the Ljubljana architecture school and the Architectural Association.

My first encounter with the new breed of Croatian architects was with 3LHD, a young firm ran by Sasa Begovic, Marko Dabrovic, Tanja Grozdanic and Silvije Novak. The partners got together while still students at the Zagreb Architecture School in 1994, and thanks to the croatian competition system they were able to do their first public works, starting with the Memorial Bridge in Rijeka (1997). After that, the firm has been involved in several public works such as a stone Sports Hall in Bale, the Spaladium Center in Lora, and their latest realizations: Zamet Center in Rijeka and the Dance Center in Zagreb. In these projects, 3LHD has been able to develop new shapes that relate to a young nation.

One of the US practices I’ve been looking forward to meet has been Trahan Architects. Based in Louisiana, the firm has been very involved in institutional projects for the local community (such as the Holy Rosary Church Complex and the Baton Rouge Library), universities and also in Make It Right.

A few months ago I had the chance to interview Ila Berman, director of the Architecture program at the California College of the Arts. She holds a doctorate in architectural history, theory, and criticism from Harvard University’s Graduate School of Design.

During the AIA Convention 2009 we had the opportunity to interview the AIA President (2008-2009), Marvin Malecha.

At the beginning of the summer we visited SYNTHe, a urban rooftop garden designed and built by professor Alexis Rocha (I/O Platform founder) with SCI-Arc students.

The SYNTHe project is a 3,000sqf structure located on the top of The Flat, a mid rise residential building in downtown Los Angeles, and its the first green garden approved by city official. The idea of this “green blanket” over at the top of the building is to reduce the building heat gain, reduce storm water waste (80% is captured and used for irrigation) and to establish a sustainable plant ecosystem that collaborated with air pollutants filtering. It also reclaims the rooftop area from HVAC, ventilation and fire control systems, giving a new terrace for the users of the building.

Inside this blanket, 1,500sqf are dedicated to the production of edible plant species, and we had the chance to taste them at the restaurant during lunch, very good. The species planted include:

Another interview conducted live at the rooftop of The Standard during Postopolis! LA.

Interview conducted, condensed + edited by Sarah Wesseler

What do research and development mean in today’s design field? To learn more about architectural R&D, I turned to KieranTimberlake, a Philadelphia-based firm that has earned wide acclaim for its innovative work in arenas such as prefabrication and sustainable design. Partner Stephen Kieran and research director Billie Faircloth spoke with me about the history and practice of the firm’s in-house research team.

First, don’t forget to check our first Round Up of interviews done by our team. And then, you can move on to our second part of some of our greatest interviews featured in ArchDaily.

A few weeks ago we were in LA for Postopolis!, and we toured around the city visiting interesting practices. One of our biggest surprises was Yazdani Studio. We started to see this firm because of their buildings for the Ordos project, so we decided to visit their offices and interview the principal, Mehrdad Yazdani.

Mehrdad Yazdani (BA Arch U Texas at Austin, M Arch at Harvard GSD) is a principal at Cannon Design, an international firm with several offices in the US and abroad. A big corporate office, with all the pros and cons it has. Given this, Mehrdad started Yazdani Studio as a small laboratory that benefits from the reach and resources of a large international practice, with the flexibility of a smaller design studio. This in-between position has allowed Yazdani Studio to work on several scales. Something I really liked when i visited their office was the large amount of test models I saw laying around for every project, a proof of the amount of experimentation at the practice.

Some of Yazdani Studio projects include the recent renovation of the Museum of Tolerance (and a 2nd phase that will be completed next), the UCSD Price Center, a new campus for Tata Motors and several institutional buildings. Yazdani Studio was also one of the first practices to start working in Ordos -before the Ordos 100 project- with a Villa currently under construction. Also, Yazdani Studio is developing a restaurant and a concert hall, as supporting programs for the cultural district envisioned for this emerging city on the Mongolian desert.

Well, enough with my intro. Just watch the interview.

Some pictures of our visit to the practice after the break.

This is the first interview recorded live at Postopolis! LA at the rooftop of The Standard. This time we present Yo-ichiro Hakomori from whY Architecture.

As promised, the second part of the interview with Cameron Sinclair, Founder and Eternal Optimist of Architecture for Humanity.