A temple of light expressing a faith of inclusion is poised to become an architectural landmark in Chile. Set within the Andean foothills just beyond the metropolis of Santiago, the complex- curved temple is designed by the distinguished Canadian architect Siamak Hariri as an invitation for spiritual contemplation and architectural pilgrimage.
MAAT is an outward-looking museum located on the banks of the Tagus in Belém, the district from where the Portuguese great explorers set off. Proposing a new relationship with the river and the wider world, the kunsthalle is a powerful yet sensitive and low-slung building that explores the convergence of contemporary art, architecture and technology.
Located on Paseo de la Reforma, Mexico City’s most renowned avenues, Torre Reforma is part of a cultural, historical, and financial district. It is a turning point for vertical urban growth in the megalopolis of Mexico City, having a 2,800 m2 ground site, extremely small for a high-rise building of roughly 87,000 m2.
In this interview, presented in collaboration with PLANE—SITE, Pierre Bélanger, curator of the Canadian contribution to the 2016 Venice Biennale—explains why Canada's practices of mining and extraction should be carefully understood for their architectural implications. Together with his firm OPSYS, Bélanger conceived of a miniaturized experience of an "inverted territorial intervention" so that Biennale visitors could personally experience and relate to "the complex ecologies and vast geopolitics of resource extraction."
After training at the prestigious Bezalel Academy of Arts and Design in Israel and moving to New York in 2000, Eran Chen founded ODA New York, a boutique architectural firm based in NYC. Chen has quickly become a recognized name associated with creating buildings that are not only innovative but also ecologically responsible. ODA has participated in high profile projects such as the "super-skinny and super-tall" Manhattan Tower and "a city within a city" in Brooklyn.
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We had the pleasure to interview Sergei Tchoban, member of the Urban Advisory board of the City of Moscow and leading partner of the Berlin office NPS Tchoban Voss, designers of projects such as the Nhow Hotel, and of the Moscow office SPEECH. The Russian architect is also an artist and owner of a vast collection of architectural drawings.
Ahead of this weekend's symposium “THE DEBATE”—which will take place in Kotor, Montenegro and will present the results of the Project Solana Ulcinj for the national and international audience of the KotorAPSS (Kotor Architectural Prison Summer School)—we present an interview with Bart Lootsma, co-curator of the Montenegro Pavilion at the 2016 Venice Architecture Biennale.
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As part of ArchDaily's coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
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As director of the 2016 Venice Biennale, Alejandro Aravena has sought to shift the very grounds of architecture. Rather than an inward-looking interrogation of the profession's shortcomings, as Rem Koolhaas undertook in 2014, the Chilean Pritzker Prize-winner asks us to gaze in the opposite direction—to the vast swathes of the built horizon that traditionally lay beyond the profession's purview: urban slums, denatured megacities, conflict zones, environmentally compromised ports, rural villages far off the grid.
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As part of ArchDaily's coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
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As part of ArchDaily's coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
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As part of ArchDaily's coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
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As part of ArchDaily's coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
The Serpentine Gallery in London has unveiled the designs for this year's prestigious Serpentine Gallery Pavilion, designed by BIG, showing an "unzipped wall" which rises to a point above the entrance. In addition to the pavilion, this year the Serpentine gallery will host four smaller "summer houses" designed by Kunlé Adeyemi - NLÉ, Barkow Leibinger, Yona Friedman and Asif Khan. For these summer houses, the Serpentine Gallery asked the participants to take inspiration from Queen Caroline's Temple, a small, classical summer house near to the gallery that was built in 1734.
The Technical Faculty is part of the University of Southern Denmark (SDU) in Odense, and constitutes a shared research and education environment for four different institutes. The building is designed as one big envelope consisting of 5 buildings connected by bridges at multiple levels crossing the heart of the complex, a "piece of furniture" containing common functions and meeting-rooms, and giving access to a roof garden/café/lounge area. The many connections allow for more fluid boundaries, and more community and knowledge sharing.
Located on a triangular site within the Polanco area of Mexico City, this new museum building exhibits part of one of the largest private collections of contemporary art in Latin America – Colección Jumex – and is part of a wider urban redevelopment. Overlooked by large commercial buildings, the constrained site is delineated by the major street Miguel de Cervantes Saavedra, the Ferrocarril de Cuernavaca railway line and an adjacent property to the east. The extremely individual quality of the neighbouring buildings overrides any attempt to integrate the new museum within this particular urban context.
Since its reopening, the Cineteca Nacional Siglo XXI attendance numbers continue to surprise with a total of 806,803 viewers in 2013 -an increase of 29.22% compared to the previous year and with 1,287 more movies screened-.
Keep an eye out, or you might miss the Museu Brasileiro de Escultura (a.k.a. MuBE, pronounced MOO-bee). Widely considered the masterpiece of Pritzker Prize-winner Paulo Mendes da Rocha, the building was in fact born out of the desire to have no building at all. When in the 1980s an empty lot in Sao Paulo's mansion-laden Jardins district was slated to become a shopping mall, wealthy residents successfully lobbied to create a public square instead. To sweeten the deal and ensure the land stayed commercial-free, they hired Mendes de Rocha to create MuBE. Completed in 1995, the 7000-sq-meter museum hunkers down beneath ground level, thus preserving what in Sao Paulo is that rarest of luxuries: a public green space.