ArchDaily360: The Latest Architecture and News
This article was originally published on April 14, 2014. To read the stories behind other celebrated architecture projects, visit our AD Classics section.
With the design for Los Manantiales, Felix Candela’s experimental form finding gave rise to an efficient, elegant, and enduring work of structural art. Comprised of four intersecting hypars, a strikingly thin roof surface creates a dramatic dining space. Built as Candela was establishing an international reputation as the foremost shell building, he demonstrated to the world his masterful combination of artistry and technical virtuoso.
Architecture as Experiential Marketing: The Surprisingly Bright Vantablack Olympic Pavilion in PyeongChang
Much has been said about the darkest building in the world, designed by Asif Khan, for Hyundai's Winter Olympic pavilion this year. What’s more surprising about this blackest-of-black pavilion is really how bright it is inside. The imposing facade of Vantablack VBx2 encloses a series of radiant, playful rooms and the entire project is part of a joint effort by Hyundai and Asif Khan to use architecture and design principles to bring delight to Olympic visitors in Pyeongchang this year.
The idea for the vessel came from feeling that we shouldn’t just make a sculpture or a monument – it felt to us that rather than building a sculpture, it would be great if something was creating more public space.
In the latest video in their Daily 360 series, The New York Times takes us inside Heatherwick Studio’s “Vessel” at Hudson Yards. After topping out last week, the full 154 flights of stairs that make up the unique public structure are now in place, offering some pretty extraordinary views of the Hudson River and west Manhattan.
As part of their "Daily 360," The New York Times has released a series of immersive videos exploring the New Seven Wonders of the World, offering viewers the experience of visiting the architectural marvels themselves without having to fly 5000 miles. Back in 2007, the seven monuments were announced after a seven-year poll that included votes by 100 million people who recognized the structural and innovative significance of these masterpieces across the planet.
The Daily 360 is a collection of videos by The New York Times; rather than a 2d moving image, they give a real understanding of space, transporting you to the place. Over the last year, their videos have included the Guggenheim, Art Deco masterpieces and memorial architecture from different cultures. Experience the New Seven Wonders of the World for yourself below:
In the latest in their Daily360 series, the New York Times takes a look at this past weekend's demolition of the old Kosciusko Bridge on Newton Creek between the boroughs of Brooklyn and Queens. Built in 1939, the steel truss bridge had become a major bottleneck for traffic over the past 8 decades, prompting the state government to invest in a new cable-stayed design. The first span of that bridge opened in April, with a second span to be built over the path of the former bridge.
“This is an area that was polluted from the industrial manufacturing economy,” said New York State Governor Cuomo. “We’re cleaning it up, but I think the crown jewel is going to be that new Kosciuszko bridge.”
Located a few meters from the terminal of Naoshima, the Japanese island better known as the "Art Island", Sou Fujimoto's Pavilion appears as a translucent and lightweight diamond perched on the coastal edge of Kagawa, visible from SANAA's ferry terminal welcoming the visitors to the island.
The Naoshima Pavilion was part of the 2016 Setouchi Triennial. Fujimoto has created its structure with a white painted stainless steel framework, acting as a mesh that gives the polyhedron it's irregular shape and light appearance as if it was levitating from the ground.
In the latest in their Daily360 series, the New York Times takes us inside BIG's recently completed TIRPITZ museum, located within a former Nazi bunker on the west coast of Denmark. The video gives a panoramic tour of the museum's light-filled subterranean spaces, along with commentary from museum curator Anne Sofie Vemmelund Christensen, who notes the most transformative changes from the spectacular renovation.
During the year of the 150th anniversary of his birth, Frank Lloyd Wright is having another glorious moment in the public consciousness. While many of Wright’s structures, including Fallingwater, the Guggenheim and Taliesin, are staples of the architectural canon, this renewed interest has given some of Wright’s other 380 remaining buildings the chance to step out into the sun.
Many of these other still-standing buildings are houses, and while some have been converted into museums, many remain on the market for prospective homebuyers with a knack for preservation – but not necessarily exorbitant wealth (according to the New York Times, the 1917 Prairie-style Meier House sold in 2013 for just $125,000). In total, 45 Wright properties have been sold in the last five years alone.
It is often said that architecture only makes projects more expensive. That architects only add a series of arbitrary and capricious complexities that could be avoided in order to lower their costs, and that the project could still work exactly the same without them. Is this true in all cases?
Although they are more profitable economically, human beings don't seem to be happy inhabiting cold concrete boxes without receiving sunlight or a breeze everynow and then, or in an unsafe neighborhood where there's no possibility to meet your friends and family outdoors. Quality in architecture is a value that sooner or later will deliver something in return.
Balance is key, and a good design will never be complete if it's not economically efficient. How do we achieve this ideal? We reviewed the design process for 'The Iceberg' in Aarhus, Denmark. A project that managed to convince the authorities and investors when proposing a high-impact and tight-budget design, which in its form seeks to respond to the objective of guaranteeing the quality of life of its users and their neighbors.
"The Cloud" by Studio Fuksas Brings a Touch of Modern Baroque to Rome's Rationalist EUR Neighborhood
This article was originally published by Metropolis Magazine as "Studio Fuksas' Controversial (Yet Striking) Convention Center Opens At Last."
Despite its evocatively fluffy name, “The Cloud” (Nuvola in Italian) has been one of the most seriously discussed and debated architectural projects in Italy in the last decade. Even after its opening in October 2016, the building continues to generate controversy over its cost (an estimated €353 million, or $390 million) and the delays its construction incurred.
The EUR Convention Center, as it’s officially known, is the largest new building to be built in Rome in more than 50 years—a flicker in time for the Eternal City, perhaps, but not an inconsiderable span either. The design was hatched by Massimiliano and Doriana Fuksas in 1998, but it languished on the drawing boards for nearly two decades after that. In that time the city elected five different mayors and had three temporary commissioners. It also weathered a number of corruption scandals.
Located at the head of the abstract bird-shaped city plan by Lúcio Costa, and as the only building within the central greensward of the eastern arm of the Monumental Axis, the palace of the National Congress (Congresso Nacional) enjoys pride of place among Oscar Niemeyer’s government buildings in Brasília. The most sober of the palaces on the Plaza of the Three Powers, the National Congress reflects the strong influence of Le Corbusier, while hinting at the more romantic and whimsical forms that characterize Niemeyer’s trademark Brazilian Modernism.
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.