Theory and History: The Latest Architecture and News

Thomas Fisher, Professor in the School of Architecture and Dean of the College of Design at the University of Minnesota, discusses the subject matter of his most recent book, Designing To Avoid Disaster: The Nature of Fracture-Critical Design.

Founder of Amateur Architecture Studio and Head of Architecture at the China Academy of Art, Wang Shu was the first Chinese architect to hold Harvards Graduate School of Design (GSD) Kenzo Tange professorship. The Harvard lecture honors architect Kenzo Tange by bringing distinguished architects from around the globe to the GSD.

The experts at studio/216 have shared with us the Culture of Craft – a pilot for an AIA Committee On Design (COD) series about The Value of Design. The non-profit AIA committee spent this past year discussing this topic, hosting two conferences in Seattle and Japan. In this film, architects Tom Kundig FAIA, Bob Hull FAIA, Annie Han, Prentis Hale and Roy McMakin discuss the value of craft and design in theory and in practice.

“I can hear with my knee better than with my calves.” This statement made by Bernhard Leitner, which initially seems absurd, can be explained in light of an interest that he still pursues today with unbroken passion and meticulousness: the study of the relationship between sound, space, and body. Since the late 1960s, Bernhard Leitner has been working in the realm between architecture, sculpture, and music, conceiving of sounds as constructive material, as architectural elements that allow a space to emerge. Sounds move with various speeds through a space, they rise and fall, resonate back and forth, and bridge dynamic, constantly changing spatial bodies within the static limits of the architectural framework. Idiosyncratic spaces emerge that cannot be fixed visually and are impossible to survey from the outside, audible spaces that can be felt with the entire body. Leitner speaks of “corporeal” hearing, whereby acoustic perception not only takes place by way of the ears, but through the entire body, and each part of the body can hear differently.

- George Kargl, Fine Arts Vienna

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“Of all things that are man-made, bridges are, with dams, the most “structural,” single-minded, and imposing. As connectors at a breaking point, they have a heroic force that is aided by a challenging structuralism. As a strand of continuity in a non-continuum, the bridge is full of implied meanings. It is the opposite of devisiveness, separation, isolation, irretrievability, loss, segregation, abandonment. To bridge is as cogent in the psychic realm as it is in the physical world. The bridge is a symbol of confidence and trust. It is a communications medium as much as a connector.”

-Paolo Soleri, 1970, from “The Sketchbooks of Paolo Soleri”, published by MIT Press, 1971

In this earnest and insightful video, NAi director Ole Bouman lectures on our shared need to “celebrate architecture’s glory.” The lecture was recorded in June 2011 at the International Architecture Festival (“FESTARCH“).

Set against a backdrop typically reserved for postcards, the decaying bunkers of the Aleutian Islands Campaign serve to memorialize a little-known chapter of WWII lore. Read more about these distinctive relics after the break.

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Venice is commonly regarded as one of the wonders of the world, attracting over 17 million tourists each year. However, the city of Venice faces ongoing problems that threaten its ability to stay above water. The city’s flooding issues are notorious around the world. Every year water surges through its legendary labyrinth of streets wreaking havoc on architectural gems such as the Palazzo San Marco. With its architecture under threat, and dwindling population as many young people flock to the mainland, it is appropriate to think of Venice as a dying relic.

The Rotterdam based design team STAR strategies + architecture has shared with us their recent project, O’ Mighty Green, a critical piece about Green – washing and especially about the abuse of “Green” in architecture. Additional images and text can be seen after the break.

Architects: Francis Isoz Location: Rue du Grand Chêne 8, Lausanne, Switzerland Project Year: 1898-1900 Client: Jean-Jacques Mercier