It's no secret that post-modernism has, in recent years, experienced something of a revival. The much-maligned movement's exhuberant and joyful take on architecture is perhaps a solace in difficult moments. Or, for the more jaded among us, perhaps it simply lends itself to Instagram.
That said, it's not quite the postmodernism that took off in the 60s. Post postmodernism is also concerned with history and context, but with contemporary spins made possible by new technologies. Installations and other temporary typologies also bring with them a fresh perspective, preserved forever on the internet for our vicarious enjoyment. But perhaps most crucially, it is no longer so wholly a reaction against the hegemony of modernism; something that the original postmodernists were fixated with. Today's postmodernism can be at once joyful and reserved, vernacular and high-tech.
The European Culture Center’s Time Space Exhibition during the Venice Biennale 2018 features a new short film depicting the spatial qualities of light in architectural design, both as a material and metaphor.
This collaboration between architect and professor Jorge L. Hernández and photographer Carlos Domenech explores their endeavors in providing a lighting-based design solution for the Williamsburg, Virginia courthouse. Battling the issues of security and privacy of the court with the need for natural daylight, Hernández recreated the cupola, a vernacular roof turret intended for ventilation for illumination instead. Light, entering the courtroom from above, transforms the previously dull space and becomes, “an allegory for justice.”
This collaboration between architect and professor Jorge L. Hernández and photographer Carlos Domenech explores their endeavors in providing a lighting-based design solution for the Williamsburg, Virginia courthouse. Battling the issues of security and privacy of the court with the need for natural daylight, Hernández recreated the cupola, a vernacular roof turret intended for ventilation for illumination instead. Light, entering the courtroom from above, transforms the previously dull space and becomes, “an allegory for justice”.
Material manufacturer Re-Structure Group has begun using a new 3D cementitious sandwich panel in the United States to help protect homes during natural disasters. As CNBC reports, the material has been widely used around the world, but is now being tested in the United States. Designed for mass production, the panels are fireproof, seismic resistant beyond any earthquake recorded in human history, and are hurricane resistant. The material is made as a sustainable and resilient building system that aims to reshape the U.S. housing market.
Studio Gang, BIG, Calatrava and SOM are among twelve leading architecture teams vying to work on the Chicago O'Hare International Airport expansion. The city’s request for qualifications calls for demolishing O'Hare's Terminal 2 to replace it with a global concourse and terminal for both domestic and international flights from United and American Airlines. The city’s Department of Procurement Services estimates the total costs of the expansion process (from design through construction) will cost an approximate $8.7 billion. Known as O’Hare 21, the project represents O’Hare’s first major overhaul in 25 years.
SLO Architecture has built Harvest Dome 3.0, a floating dome project made to celebrate the riparian heritage of Grand Rapids. Made with local materials harvested from the Grand River industry, the 20-foot-diameter orb would be constructed from brightly colored surplus seat-belts and studded with rearview mirrors, set atop a ring of 128 repurposed two-liter soda bottles. The project explores the city’s legacy of manufacturing and a history of production.
There are so many complexities and contradictions in life in general and architecture in particular. I am writing this intro to an interview I held in 2004 with Robert Venturi and his life-and-architecture partner Denise Scott Brown, while visiting Beijing’s Tsinghua University where I was invited to teach this fall. Was it simply a coincidence when, at the last moment before leaving my New York City apartment I would, almost by chance, grab a 2001 issue of Architecture magazine with Venturi on its cover and his contradictory quote, “I am not now and never have been a postmodernist.”
I learned of Venturi's passing last week on my first day of teaching at Tsinghua; the news arrived as I and the students discussed their proposals to improve their campus. In yet another strange coincidence, Venturi and Scott Brown had, just prior to our interview, been working on their own proposal for the very same campus. It was a pleasant and bittersweet surprise then to hear my students speak of freeing up the campus in much the same ways as Venturi's Complexity and Contradiction in Architecture attacked then domineering architecture of minimalism and abstraction over 50 years ago.
His and Scott Brown’s ideas for this campus did not materialize but their analytical and often rebellious thinking greatly influenced how students here and architects all over the world approach architecture. It was Venturi who freed our discipline, it was him who set us all free and encouraged to ask our own questions, to get away from all kinds of dogmas and to provoke ideas of hybridization. What follows is an excerpt from my conversation with the architects at their office in Philadelphia 14 years ago.
Researchers, academics and those with tireless curiosity will know the thrill of chasing down the details of something mysterious or unexplained. In this tweet thread from 2017, Paul Cooper noticed a difference in a nearly 100-year-old photo that led him to uncover the real story behind a strange "appendage" on the top of the Temple of Athenian Zeus. What follows is the Twitter equivalent of an architectural thriller. What is it? Why were depictions of the temple altered? Mr. Cooper takes us on a rollercoaster 18-tweet journey that uncovers the mystery.
The spatial distribution of a restaurant or bar is essential to its success. Faced with this design challenge, several architects have experimented and proposed configurations that both enhance the use of space in different culinary experiences.
With this being said, take a look at 50 gastronomic establishments in plan and section to inspire your next design.
Uruguay's architecture scene has long taken the backseat to those of its more popular neighbours. Brazil, to the north, has a modernist history that rivals (if not shades) that of its European peers; Chile, to the west, boasts an innovative climate for architecture unparalleled in the world today.
Bjarke Ingels Group has designed a cluster of buildings as the new home for Noma, one of the world’s most acclaimed restaurants. Situated between two lakes within the community of Christiania in Copenhagen. Built on the site of an ex-military warehouse once used to store mines for the Royal Danish Navy, the project is imagined as an intimate culinary garden village. With interiors completed in collaboration with Studio David Thulstrup, the project dissolves the restaurant’s individual functions into a collection of separate yet connected buildings.
Recently, a new trend in architecture has emerged: Several of the latest projects highlighted by ArchDaily, including some winners in the Building of the Year Awards, are using permeable facades as an attractive option for their exterior finishes.
Designing a home is no mean feat. It is a project of intimate importance to the client, and one small enough in which each seemingly minor decision can have a significant experiential impact. But when clients are willing to take part in a collaborative process, it is possible to create magic. Architect and author Duo Dickinson describes in this op-ed his experience with such a project, looking back at the work with clear eyes and a vision to the future. This article was originally published by Dickinson on his blog Saved by Design.
From the original Penn Station to Midway Gardens, our "lost" buildings reflect our (sometimes misguided) desire to move forward. This article, originally published on HomeAdvisor, shows how the some of the US's most recognizable streetscapes might look if history had taken a different turn.
When it comes to sustainability, the Netherlands has always been at the forefront. In recent news, Zwolle, one of the country's "greenest cities," implemented the world's first bicycle lane composed of post-consumer waste that would normally be discarded or incinerated.
To create the material, Zwolle used old, plastic bottles, festival beer cups, cosmetic packaging, and plastic furniture. Still, in the pilot phase, the bike path contains 70% recycled plastic in its 30-meter pathway. Although, the city hopes to create a bike path made entirely of recycled plastic in the future.
French architects USUS Architectes reinvent the typical campground by designing a modular multipurpose structure as an ecologicalbivouac along the trekking routes in Massif Central, France. Together, the Association of Natural Parks of the Massif Central (IPAMAC), PNR Livradois-Forez, PNR Millevaches in Limousin, and the International Center for Art and Landscape (CIAP) wanted to tackle the lack of suitable accommodation along the trails. After deliberating from over 64 proposals, the agencies ultimately selected Peaks + Simon BOUDVIN and USUS + Zebra3 as project co-laureates of the competition.
Office Ou, a Toronto-based landscape design firm, in collaboration with INOSTUDIO Architects, has designed a new public school for the historic Smíchov district of Prague. The initial competition, organized by the Centre for Central European Architecture, chose the Office Ou & INOSTUDIO design out of 66 anonymous submissions. This school would be the first new public school built in Prague's urban center in close to 100 years.
After a series of failed attempts, the Monaco building in Medellín will finally be demolished at the beginning of 2019, according to the Colombian newspaper El Tiempo.
The Monaco building, which was converted into a municipal asset this year, was the residence of the late drug trafficker Pablo Escobar in the El Poblado neighborhood of Medellín. In January of 1988, a car bomb with 80 kilograms of dynamite exploded in front of the building giving rise to a series of attacks between the drug cartels in Medellín.
In our last two articles we’ve given you a set of tips for presenting your products and materials to architects through content that they value so that you can develop interest in your brand. This strategy is called Content Marketing and its purpose is to give such useful information that potential clients become loyal to your products. Content Marketing can take the form of online articles, videos and tutorials that target a specific audience.
In this edition, we’ll be focusing on important tips for generating engaging titles and attractive images that help to successfully deliver your message.
Dubai-based architecture firm Znera Space have released "The Smog Project," a design to clean the air in Delhi, one of the world's most polluted cities. Shortlisted in the World Architecture Festival's Experimental Project Category, the Smog Project hopes to address Delhi’s noxious air quality by adding a network of smog filtering towers throughout the entire city. India's capital has become known for toxic smog levels from overcrowding and industrial waste. Znera's proposal hopes to cleanse the smog chamber and generate smog free air.
Greek architect Viktoria Lytra has created a set of images exploring the relationship and interaction between architecture and fashion. FormFollowsFashion investigates the common purpose of architecture fashion, to create shelter for the human body, placing aesthetic as a common factor in novel approaches to the design of clothes and buildings.
Lytra’s series features various movements and styles, such as minimalism, deconstructivism, and postmodernism, playing on common geometric characteristics such as folks, pleats, curves, prints, and twists.
https://www.archdaily.com/902370/does-form-follow-fashion-viktoria-lytras-montages-keep-iconic-architecture-in-vogueNiall Patrick Walsh
DS+R partner Elizabeth Diller has designed two new pieces for Prada's 2019 spring/summer womenswear collection. Created from Prada nylon as part of the Prada Invites project, the two pieces include a garment bag with utilitarian zippers and buckles and a raincoat that transforms from the same yoke style bag. The yoke style bag was also imagined as a lighter item for women to carry sketchpads, sandwiches and lipstick. The Prada invitation was made to expand the company's fascination with multifaceted representations of contemporary femininity.