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Iñaqui Carnicero and Carlos Quintáns have been selected as co-curators of the Spanish Pavilion at the Venice Architecture Biennale 2016, directed by Chilean architect Alejandro Aravena, under the theme "Reporting from the Front."

Iñaqui Carnicero is an architect and a Visiting Professor at Cornell University, and has been recognized by numerous international awards such as the Design Vanguard Award, AIANY Housing Award, Emerging Architects Award, FAD and COAM Award.

Carlos Quintáns is Professor of the Architectural Construction Department of the A Coruña Architecture School and director of the Tectónica magazine, recognized with awards such as the COAG, FAD or at the Spanish Architecture Biennale.

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UAEU professor Yasser Elsheshtawy has been appointed to curate the United Arab Emirates' participation at the 2016 Venice Biennale. Elsheshtawy plans to work with a group of selected interns on an exhibition that will reflect the UAE's contribution to the advancement of architecture and culture. A theme for the exhibition has yet to be announced.

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Videos

Becoming "the Sistine Chapel of Food" required a lot of invisible hard work. As Rotterdam's Markthal turns one year old, MVRDV's Head of Public Relations and Business Development Jan Knikker reflects on how the PR and media hype around Markthal Rotterdam was organized. This article is also supplemented by an interview conducted by ArchDaily with Winy Maas and Jan Knikker, which connects the parallel lines of the building's design and its PR campaign.

If I say that this is a PR story will you believe a single word? Markthal Rotterdam is a PR story with astonishing results: since its opening by queen Maxima in October 2014, our office MVRDV has nearly doubled in size to 110 staff members and it’s still growing. We - and The Financial Times - call it the “Markthal Effect”. In the first year the building reached over 8 million visitors, more than the Eiffel Tower, Bilbao Guggenheim or Tate Modern. 800 articles were published worldwide. It was hailed as a Sistine Chapel for food, a symbol of urban renaissance, a cool place to go. With the roughly 4 million visitors that came from outside of Rotterdam, the city saw its tourism grow.

How did that happen? It would be an easy assumption to think that a great building naturally attracts this kind of attention. But it all started quietly. In 2004 developer Provast and MVRDV won the competition with a plan that resembles the current design, except with one big difference: the colorful art piece which brightens up the inside of Markthal was at that stage also all over the outside facade. In any other city that would have lead to an instant protest movement against the zeppelin hangar covered in a gigantic fruit wallpaper. But not in Rotterdam. Public awareness started only once the construction became noisy.

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The Istanbul Foundation for Culture and Arts (IKSV) is hosting an open call for proposals for the Pavilion of Turkey's exhibition at the 2016 Venice Biennale. The call is open to all people and institutions of relevant fields, including architects, designers, artists, historians, curators, theoreticians and critics.

After a selection process involving over 250 submissions, the curatorial team for the US Pavilion at the 2016 Venice Biennale has selected 12 teams of architects to produce the US exhibition: The Architectural Imagination. The Architectural Imagination will speculate possible architecture projects for four sites in Detroit with an eye for application internationally.

This fall, the teams will travel to Detroit for site visits and community meetings, as well as to meet with faculty and students at the University of Michigan’s Taubman College of Architecture and Urban Planning. Curators Cynthia Davidson and Monica Ponce de Leon hope to have selected a team that produces creative and resourceful work to address the social and environmental issues of the 21st century.

See all of the selected teams after the break.

Short answer: No. Don’t confuse the responsibility of proposing solutions with the power to execute them.

Long answer: Few things have changed the role of the architect as radically as when many people lost faith in the idea of authority in the 1970s. Nothing was the same after that. Numerous star architects born around the turn of the last century, such as Alvar Aalto, had become a fixture in the architectural firmament, but fell hard to earth when the society that had held him aloft suddenly turned its back on all establishment figures. The revolt against the status quo changed the rules of the game for architects and politicians in particular. And the loss of authority soon led to the loss of self-confidence, but that’s nothing to grumble about now. The days when an architect could lead the way by pointing are long gone; now it’s essential to be enthusiastic and encourage everyone to come together. That works best if architects believe in themselves.

Short answer: Ceilings.

Long answer: Ceilings have devolved from being the focal point of a room to being a zone for mechanical equipment. In all the world’s greatest spaces we’ve always looked up in awe. Where our gaze was once met with fantastical vaulted ceilings, remarkable truss structures, or distinctive decorative treatments, today we typically find acoustic tiles, ductwork, and fluorescent strip lighting. Having abandoned the ceiling as a canvas for creativity with the dawn of the technological era, we’ve had a hard time taking it back. Today, it’s hard to compete with all that mechanical equipment when all you’re arguing for is a blank white surface. But a compelling vision of a space designed to make the ceiling its primary feature can enchant even the most pragmatic minds. There is good reason to be stubborn: since we seldom rearrange or redecorate the ceiling the way we do the rest of a space, what we create overhead lives a long life.

The British Council has launched an open call for exhibition proposals for the British Pavilion at the 2016 Venice Architecture Biennale. The exhibition, directed by Chilean architect and Pritzker jury member Alejandro Aravena, will be about "focusing and learning from architectures that through intelligence, intuition, or both of them at the same time, are able to escape the status quo."

Expressions of interest can be submitted in the form of short concept proposals for the theme and visual language of the exhibition. "The proposals should contribute an acute observation of contemporary British architecture," says the council. "You might critically analyze architectural practice or exemplary work where architecture makes a difference. We are also interested in the means by which these observations will be expressed and communicated to a wide audience, and the discussion that they will generate between professionals and the public."

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London’s Design Museum has announced the category winners of the prestigious “Design of the Year” award. The winner of this year's Architecture Category is the Anacleto Angelini UC Innovation Center designed by Alejandro Aravena.

One of the most interesting trends in architectural materials of recent years is the increase in use of weathering steel - more commonly referred to by its trademark name, Cor-Ten. Thought the material has been around for decades, first being used for architectural purposes in the Eero Saarinen-designed John Deere Headquarters in 1964, the material has seen a surge in popularity in the last decade or so, being used in everything from individual houses and tiny kiosks, to SHoP's design for the Barclays Center in Brooklyn, which used a staggering 12,000 weathering steel panels.

To celebrate this material we've rounded up nine of the most innovative and striking uses of weathering steel from recent years: Haworth Tompkins' tiny Dovecote Studio; Feilden Clegg Bradley Studios' offices and student housing at Broadcasting Place; the perforated facade of IGC Tremp by Oikosvia Arquitectura; the rusted ribbons of Ron Arad's Design Museum Holon; vertical striations on The Corten House by DMOA Architecten; Tony Hobba Architects' Third Wave Kiosk and its corrugated Cor-Ten walls; striking patterned facades in Santiago's Gabriela Mistral Cultural Center by Cristian Fernandez Arquitectos, Lateral Arquitectura & Diseño; weathered facades and louvers in Guillermo Hevia's Ferreteria O´Higgins; and finally the folding garage-style doors of Origin Architect's Refurbishment of the Offset Printing Factory.

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