The world faces some significant challenges. The UN climate change report released last month, which explained that we may have just 12 years and need “unprecedented changes” to avoid devastating effects from climate change, was released into a world that seemed to be plenty busy processing other things, such as rising economic inequality, increasingly partisan politics, escalating conflicts, and refugee crises, to name a few.
According to the curators of the 2019 Oslo Architecture Triennale, our economic and climate-related challenges (and perhaps more challenges besides) are underpinned by a single unifying cause: the expectation for continuous economic growth. With their theme for next year’s Triennale, they highlight the concept of “degrowth,” a growing movement to overturn our economic assumptions and establish a managed contraction of our economies and resource consumption, with the eventual goal that society will become calmer, less focused on productivity, and more focused on quality of life. And, as they see it, the architects of this retooled society could be—well, architects.
The 305-meter-high, bud-like scheme, named after its nature-inspired form, will offer an education facility operated by building owners J. Safra Group. The program, with 20,000 free places per year for London’s state school children, will feature “unparalleled vantage point to view London from a height of around 300 meters.”
Chilean architect Alejandro Aravena shares the fundamentals of his design philosophy in a documented interview titled “To Design is to Prefer.” The Pritzker Prize winner founded his practice in 2001, committed to exploring socially conscious design practices. His firm, Elemental, first gained international recognition for its work creating social housing projects in Chile, but its portfolio continues to expand to include work from museums, universities, transportation, and urban infrastructure.
This video highlights the mental process behind Aravena’s personal practices and insights into Elemental’s unique approach to design. The interview begins discussing Aravena’s introduction to architecture as a teen and how architecture, a rather obscure phenomenon to the young Aravena, became his passion. Throughout the film, Aravena flips to the pages of his sketchbooks, illustrating the raw hand of the architect.
At IE School of Architecture and Design, we know that the world of work is changing so fast that we cannot always keep up. Industry disruptors, such as emerging technologies, are unsettling the setup of the traditional office. Workforce demands, the ongoing talent war, and the threat of job replacement by AI all contribute to a workforce under tremendous pressure, creating new dynamics at work.
https://www.archdaily.com/906021/the-workplace-paradox-join-the-ie-school-of-architecture-and-designs-master-classAD Editorial Team
Johnston Marklee has rapidly become one of the US’ most exciting practices. After years of completing sensitive and complex domestic-scaled works in Los Angeles, the office vaulted to prominence after being selected to curate Chicago’s 2017 architecture biennial. Since then they’ve completed and embarked on numerous significant projects - none more so than the Menil Drawing Institute.
The mountains—one of the contexts that almost every architect would like to build in at least once. And yet even though it's an attractive setting, the associated challenges, including, but not limited to the sheer remoteness of mountain regions and their distance from basic services, make building in the mountains particularly demanding.
We've compiled a selection of 15 incredible works of architecture that maximize the breathtaking surroundings found in mountainous areas, featuring photographs from Felipe Camus, Janez Martincic, and Anze Cokl.
In the wistful irony of creating liquid fire through sheets of paper, David Oliva of Barcelona-based firm SP25 Arquitectura and Anna Juncà of Atelier 4 collaborated to fabricate an installation piece for the LLUÈRNIA festival of fire and light in Catalonia. Titled, "Origami Lava", the field of flame cloaks the 100 m2 surface of an abandoned building using over 10,000 pieces of origami.