In order to inspire our audience, generate critical debates, and develop ideas, ArchDaily has been continuously questioning architects about the future of architecture. To define emerging trends that will shape the upcoming cities, examining “What will be the future of architecture?” became an essential inquiry. More relevant during these ever-changing moments, discover 10 interviews from ArchDaily’s archived YouTube playlists that will highlight diverse visions from 10 different pioneers of the architecture field.
In the second part of his interview with Archdaily, Hashim Sarkis reflects on the future of architecture as he tackles the timeless question of the 2021 Venice Biennale. The curator of the Biennale, which proposes the question of “How Will We Live Together?”, discusses the role of the profession in the midst of all these new paradigms, stating that “Architects do change the world […] by creating […] wish images for what the world could be”.
In this feature, the curator of the anticipated biennale and dean of MIT School of Architecture and Planning presents his views on the evolution of Architecture, and the new directions the academic world should take, to reflect “the complexity of the urban problems of today”. Sarkis also brings up Beirut, discussing reconstruction approaches, civil society, and the exasperating notion of resilience.
Scheduled originally from August to November 2020, the 17th Venice Architecture Biennale was postponed, like every other event this year, and will be held from May 22nd to November 21st, 2021, due to the pandemic. Questioning “How will we live together?” the original statement of curator Hashim Sarkis, called upon architects “to imagine spaces in which we can generously live together”. Relevant today more than ever, with the current worldwide circumstances, the theme of the Biennale is in fact the focus of interest of the global scene.
After having discussed “How will we live together?” over a year ago with Hashim Sarkis in Venice, ArchDaily had the chance to open the debate once more and re-examine the question of the Architecture Biennale. In a two-part interview, the architect tackles the theme, the Biennale, the present situation, and the future.
Designing for human scale begins with contemporary culture and everyday life. As the COVID-19 pandemic transformed how we work and live around the world, it's also changed how we think about human scale in the city. For Brazilian architect Leonardo Fernandes Dias of LADO Arquitetura, the global transformation in urban life is directly tied to health, public space and architecture.
The COVID-19 pandemic has reshaped how we work together. From telecommuting to virtual programming, architects and designers are rethinking traditional office structures to reimagine collaboration around the world. For architect Evelyn Lee, her work as the first Senior Experience Designer at Slack Technologies centers on building better workplace experiences. In a year defined by remote work, she's exploring what culture and community mean today.
Shaping the future begins with education. For VMDO Principal Rob Winstead, learning spaces go hand in hand with sustainability. As a nationally-recognized expert in education, Winstead is an advocate for blending thoughtful design with high performance goals. In an exclusive interview with ArchDaily, Winstead talks about his personal background and experiences, as well as his role in shaping how VMDO approaches sustainability, education and social justice.
Tiffany Brown with students. Image Courtesy of Tiffany Brown, 400 Forward
A pioneer for justice, equity, diversity, and inclusion in the profession of architecture, Detroit native Tiffany Brown is the founder of 400 Forward, an initiative that seeks, inspires, and mentors the next generation of women designers. Named in light of the licensing of the 400th African American woman architect in 2017, the program aims to familiarize young girls with architecture, giving them tools to address social injustice issues.
Pushing forward the presence of African American women in the profession of architecture -currently standing at less than 0.3% in the U.S- 400 Forward also provides scholarships and tuitions for study material and licensing exams for African American women in architecture. In order to learn more about the initiative, ArchDaily had the chance to talk with founder Tiffany Brown about the program, diversity in the field, and empowering female architects and students.
During the peak of Postmodernism, and the uprising of notions such as urban renewal and public participation, Aedes Architecture Forum, the first private architecture gallery in the world, opened in 1980 in Berlin. Founded by Journalist Kristin Feireiss and Helga Retzer, both neither architects nor regularly engaged with architecture at that time, Aedes aspired to encourage an international dialogue around the subjects of urban environment, space, and society.
Shortly after its inception, the center became an integral part of the contemporary international architectural scene, carrying out debates, seeking fresh ideas, showcasing the avant-garde, and highlighting young talents. Providing architects with a compelling space to present their architectural and urban ideas, Aedes hosted exhibitions for Zaha Hadid, Venturi Scott Brown, Cedric Price, John Hejduk, OMA (Office for Metropolitan Architecture), Peter and Alison Smithson, and Bernard Tschumi to name a few.
We visited Clément Blanchet in his Paris studio, located in Villa Seurat, a small Parisian street flanked by modernist buildings. Inside a beautiful loft by Maillard et Ducamp, the team of Clément Blanchet Architecture was working hard on a master plan in China.
After going through diverse education programs, that included the AA in London, the Chulalongkorn Mahawitthayalai Architectural School in Bangkok, and the University of Illinois in Chicago, Clément started his career at OMA, “a long therapy [...] to discover who I was”. During his career at OMA, he became the director of OMA France, participating in projects such as the Caen Library, the Parc des Expositions in Toulouse, the Lab City CentraleSupélec, among others.
The practice is structured as a laboratory, researching, informing and generating architecture and urbanism in all its forms and sizes. From a series of carefully designed interiors for restaurants, playing with a diverse palette of materials, to large scale multifunctional buildings and master plans, adapting to the fast-changing needs of society.
While opting for still images seems to be the most utilized means of presenting a project, some architects choose to invite viewers into the architecture itself, allowing them to experience the building and its surroundings immersively. Since 2006, architecture filmography studio Spirit of Space has engaged viewers with over 200 short films of projects built by world-renowned architects such as Peter Zumthor, Steven Holl, Daniel Libeskind, and Jeanne Gang. The studio’s multidisciplinary team has combined visuals with customized soundtracks, elevating the journey and turning it into a multi-sensory experience.
GXN, a sister company of 3XN, rethinks architecture, spaces, and materials. Researching how architects can and should close the feedback loop with their structures, the multidisciplinary team at GXN harvests and analyzes vital data from buildings in order to help architects build a better future. Concentrating their efforts on Circular Design, Behavior Design, and Digital Design, the people behind GXN are architects, engineers, designers, and social scientists. From Copenhagen, Kåre Poulsgaard, Head of Innovation at GXN, spoke with ArchDaily’s Christele Haarouk, about Artificial Intelligence in Architecture.
Do architects today live on in the expressions of the buildings they design? If a “car to inhabit” tests the possibilities allowed by duplicity in architecture, a look at today’s design process of the architecture offices pushes us to consider the potential of creative thinking, and break away from the structure that defines it. It seems today that the attitude of moving away from uniqueness, belongs not only to engineering and technical offices, but often also to young design offices with strong design sensibility.
The diffusion of office structure over the last several years, attempts to take a distance from the vision of a single Big Architect of the Universe can be appreciated in a “non-authorial” approach. This approach takes on the idea of anonymity which is already interpreted first in literature and in art, and then in a "no-logo" design. This new form of democracy in creativity seems not only to be a way of adapting to the shortage of resources, but first and foremost a useful tool to experiment with new hypotheses in architecture. Today, a great number of the buildings being fabricated on the planet are realized by big Companies: design structures organised in a way that puts architects, engineers, economists, designers and other professionals together. The world of “pure” architectural practice often tends to distance itself, from such situations. However, the approach of young firms without a single leader pushes us to inspect “plurality” as the land from which to trace fragments of the future.
Lisi Green Town. Image Courtesy of Lisi Development
Architects and developers have always been on opposite ends of the construction world. While the first wanted to create dreamy spaces, the latter just wanted to cater to the basic needs. In these past few years, the world has witnessed significant changes, with the aggravation of climate-related issues, the evolution of technological solutions, and the newly acquired awareness and growth of the population.
While everything is transforming, building trends also evolved, mainly due to an alteration in people’s perceptions and priorities. However, one question remains unanswered: Could all these changes mean that the never-ending conflict between architects and developers reached some sort of common grounds? And could they finally be seeking one same goal, of a sustainable, resilient and inclusive future?
Vessel Public Landmark - Heatherwick Studio. Image Courtesy of Getty Images
Innovation can take on so many definitions. It can revolve around finding solutions, tackling with novel ideas, or just an original way of perceiving life. It can also be a very concrete technological advancement or an intangible concept. There is no right or wrong when it comes to innovation, just different points of view.
ArchDaily had the chance to discuss the topic of Innovation with Thomas Heatherwick and Yosuke Hayano from MAD Architects, during the reSITE 2019 event in Prague, where prominent thinkers from around the world shared their ideas about the future of cities under the theme of REGENERATE. The interdisciplinary conversation, in its 8th edition, explored natural and urban revitalization, as well as the recurring problems of our times like climate change and housing affordability.
Carlo Ratti can be considered one of the great architectural innovators of our time. The founder of Carlo Ratti Associati, and Director at the MIT Senseable City Lab, Ratti champions the power of new technologies to transform both how we live, and how we design. The act of “convergence” is central to Ratti’s architectural outlook, whether it be the convergence of bits and atoms, or natural and artificial, or human and technology. Moreover, he believes that this convergence can reframe the design process, and engage citizens in discussions on what kind of city they want to live in.
New York City now has three buildings by Steven Holl – Higgins Hall Insertion at Pratt Institute in Brooklyn (2005), Campbell Sports Center for Columbia University in Upper Manhattan (2013), and Hunters Point Community Library in Long Island City, Queens that will open its doors to the public on September 24th. The event coincides with publishing Holl’s new book Compression with the Library’s abstracted image on its cover; it is the fifth volume of the architect’s written manifesto, 30-years-in-the-making series by Princeton Architectural Press. The new building, the size of the nearby landmarked Pepsi-Cola red neon sign, is a robust concrete parallelogram distinguished by softly outlined multi-story glazed cut-outs. It sits prominently on a new public promenade just feet away from the East River, directly across the United Nations complex in Midtown Manhattan and the southern tip of the Roosevelt Island with its Franklin D. Roosevelt Four Freedoms Park memorial by Louis Kahn. The new building is at once an iconic reference point, visible from Manhattan’s East Side and the ferries, and although it took nine years to finish, its completion is a positive sign of New York’s commitment to public projects being designed by our best architects.
London/Malta-based Mizzi Studio, led by founder Jonathan Mizzi, are at the forefront of the growing trend of micro-architecture. As exemplified by their recent commission for the design of nine kiosks across London’s Royal Parks, the firm has a passion for the fusion of craft and technology, and in particular, the large, invisible forces of economy, sustainability, and psychology that converge on such small spaces and structures.
During the World Architecture Festival in Amsterdam, ArchDaily sat down with Sanjay Puri who discussed his starting point, the architectural possibilities presented in India, and the oppositions faced by architects in his country. He also spoke of the importance of building in your context and not copying the past or the built environment in other parts of the earth.
With an office of more than 70, in Mumbai, Sanjay Puri Architects are currently working on several new ventures including education, residential, offices, hotel, and hospitality projects.
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