In his latest photographic journey, Paul Clemence explores the architecture of the Aluminaire House in Palm Springs. The Aluminaire House Foundation has bestowed the house exhibit upon the Palm Springs Art Museum, joining its permanent collection. This architectural landmark, designed by Albert Frey and Lawrence Kocher is currently undergoing reconstruction in the south parking lot of the Museum. Hailed as an icon of modernist design, recently recognized by Architectural Record as one of the most significant buildings completed worldwide in the past 125 years.
Recently I visited Pittsburgh for a fascinating hand-drawing conference at Carnegie Mellon’s superb school of architecture, which to my knowledge is not among the top 10 in U.S. News and World Report. I wonder why? The curriculum is cutting-edge, the faculty world-renowned, and the students well-grounded and talented. More people of color are in the design community at CMU than at Princeton, SCI-Arc, or Harvard.
From 1987 to 1993, architect Pablo Tomás Beitía set out to transform the former housing complex and rental houses of Argentine artist Alejandro Xul Solar into a museum. The goal was to create a new space that would adapt to exhibition requirements and engage in avant-garde dialogue with the pre-existing structure. Situated in the Palermo neighborhood within the Autonomous City of Buenos Aires, the Xul Solar Museum was designed to serve as a space for cultural encounters. The remodeling and expansion project was conceived by interpreting the artist's pictorial worldview, maintaining the facade intact, and embracing the painter's house with a new interior architecture.
On Avenida Corrientes, the Teatro Municipal General San Martín (TGSM) rises between party walls in the heart of downtown Buenos Aires. Designed by Mario Roberto Álvarez and Macedonio Oscar Ruiz in 1954, this building comes to address an artistic and cultural issue common to the large cities of America. It stands as one of Argentina's most important theaters, providing spaces for theatrical and cinematic performances as well as art exhibitions. Spanning 30,000 square meters, it constitutes a theater complex alongside the General San Martín Cultural Center, operating independently.
Where does the process of mythification of a work in architecture reside? What are the conditions inherently linked to the resource of memory? Firstly, the appearance of an intrinsic value within the architecture, such as highlighting the taste for the projected building. This would be accompanied by the historical factor—the echoes of the era in which it was built. If we add to all this a demolition loaded with theatricality and social drama, the building becomes something more, becoming part of the vast mythical territory of memory. Miguel Fisac's 'Pagoda,' which began construction in 1965, was demolished in just a few days in July 1999, being just over thirty years old at the time of its demolition.
Affectionately known as the 'Pagoda' by the people of Madrid, evidencing its similarity to Asian constructions, it was not held in the same esteem by the architects of the time. In the rise and fall of the JORBA Laboratories, the original name of the project, purely tragic elements converge: denunciations moved by religious conspiracies, neglect by the administrations, speculative businesses, professional jealousy, and rulers incapable of appreciating the quality of architecture that, today, becomes myth or martyr; the object of unjust destruction.
Jonas Salk Institute for Biological Sciences (1959-65). Image Courtesy of Form Portfolios
In the history of modern architecture, Louis I. Kahn is regarded as the undisputed master of monumentality in the United States. At the height of his career, Kahn managed to create a unique type of architecture, often awe-inspiring, but avoiding overdone grandiosity, expressing its constructive system, yet avoiding structural exhibitionism, steeped in history but developed with a new language and system of forms. His interest in light as a functional element and the specific qualities of materials extended beyond his buildings, in all the objects he created to populate them following their intrinsic spirit. To celebrate this legacy, Form Portfolios has now launched “Monumental Modernism,” the first collection of lighting, objects, and furniture modeled after those discovered in Louis I. Kahn’s buildings.
Architecture Classics showcased on ArchDaily serve as essential archives of architectural marvels, offering a window into the past. These classics showcase our collective design wisdom and innovation globally, enriching our design knowledge. In fact, through the acknowledgment and appreciation of different styles, functions, and narratives embedded within these structures, our view of architecture and its impact worldwide can become more comprehensive.
The Climat de France is a French colonial social housing project in Algeria designed by Fernand Pouillon and currently renamed Oued Koriche. Located approximately 8km west of the country’s capital, Algiers, it was built from 1954 to 1957, right in the middle of the Algerian War of Independence. The project has several buildings with different scales. Its most prominent structure is a large rectangular building that houses 3000 dwellings, along with a spacious interior square similar to a Roman forum and exterior windows inspired by the mosaics found in Islamic architecture.
This social housing scheme has a complex history, involving the integration of Algerians into the French lifestyle, the use of modern architecture to challenge traditional Muslim ways of living, and the transformation of its collective square into a site of protest and rebellion.
Kimbell Art Museum / Louis Kahn. Image Courtesy of Xavier de Jauréguiberry
AD Classics presents you with some of the greatest buildings of the past that have influenced and shaped architecture today. Throughout ArchDaily's 13 years, more than 200 classics were published, and for this edition, we have rounded up the top 20 most visited Architecture Classics to date.
The German Pavilion was designed by Ludwig Mies van der Rohe in 1929 for the German representation at the International Exhibition in Barcelona held on Montjuic that same year. The Pavilion was conceived as a space of modest dimensions and refined materials. It was made of glass, steel, and four types of marble, intended to host the official reception led by King Alfonso XIII and German authorities. The uniqueness in the use of materials, which was always highlighted in his work, wasn't about their novelty but about the modernity they represented and their precise application in terms of geometry, the accuracy of their components, and the clarity of their assembly.
The intervention project includes the design of the Julio Mario Santo Domingo Cultural Center and Public Library, as well as the 6-hectare San José de Bavaria recreational park. With its completion, a new recreational and cultural hub was established for the Suba area and the city.
https://www.archdaily.com/1006043/architecture-classics-julio-mario-santo-domingo-cultural-center-bermudez-arquitectosArchDaily Team
El Tintal Library is the result of reusing a former disused waste transfer plant and transforming the 5-hectare site into a park along Avenida Ciudad de Cali with 6th Street. The rescued building from ruin was a 25-meter-wide by 72-meter-long industrial warehouse with a total area of 3,600 m², distributed over two floors of considerable height. Built with a sturdy concrete structure and large spans, it was adaptable to new use, enhancing its robust and industrial appearance.
https://www.archdaily.com/1004774/architecture-classics-biblioteca-el-tintal-bermudez-arquitectosArchDaily Team
The construction of Torres del Parque began in 1968 and was completed in 1970. Between 1964 and the start of the project, there was a period of uncertainty, doubts, and successive trials to find the right form for the project, not only from an architectural perspective but also from urban and landscape points of view.
The site, characterized by its overwhelming topography, the Plaza de Toros, the abandoned Parque de la Independencia (for over 15 years), and the magnificent panoramic view of the foothills, still untouched by the multitude of towers and dense buildings, invasions, and senseless occupations of the area, should not only be taken into account in the development of the project but, above all, be exalted through architecture that is implemented in such a correct and sensitive manner that it transforms and shapes the city. It should be the heartbeat of the place and a meeting point between reason, enchantment, and poetry. Between clarity and magic, an architecture that can be discovered, that doesn't impose itself, as it is more beautiful when discovered with surprise, like discovering nature. Ultimately, an architecture that integrates with the existing Plaza de Toros and allows transparency between the city and its foothills, reclaiming the steep street adjacent to Parque de la Independencia and transforming it into a pedestrian garden formed by stairways and ramps connected to the residential complex and the park.
The project contemplates the development of a building and a square that aims to articulate and integrate the Jorge Tadeo Lozano University with the center of Bogotá, revitalizing and converting what was once a deteriorated residential and industrial suburb into an open and public campus. The building results from overlapping a volume of 47 meters in width and depth with another volume of 40 meters in width and depth, creating a covered perimeter walkway on the first floor that extends along the sidewalks of the surrounding streets. With a total height of 30 meters, the building consists of 4 large floors, with clear heights ranging from 3.4 to 6.1 meters.
https://www.archdaily.com/1003684/architecture-classics-library-and-auditorium-at-jorge-tadeo-lozano-university-bermudez-arquitectosArchDaily Team
It has been about 200 years since the École des Beaux-Arts in Paris created an academic discipline—and thus the profession—of architecture. The central role of the architect as the defining agent of creation transcended the Master Builder, a role that defined those who designed buildings not as experts or celebrities but as stewards of building traditions.
El croquis final en carbonilla del edificio Kavanagh, presentado a Cora Kavanagh en marzo de 1943. Foto: CdA. Image Cortesía de Díaz Ortiz Ediciones
Perhaps without even looking for it, Cora Kavanagh would leave one of the most emblematic buildings of rationalist architecture in Argentina. Inaugurated in January 1936, with its almost 120 meters of height, the Kavanagh Building stands in front of the ravine of Plaza San Martín, located in the central neighborhood of Retiro in the Autonomous City of Buenos Aires.
"Cora Kavanagh and her Building" is the title of Marcelo Nougués' new book that gathers the entire story, revealing everything from her building and her travels to her art collection and the different houses she lived in during a period of almost 50 years. In collaboration with Díaz Ortiz Ediciones, this 572-page printed volume compiles texts, photographs, and documents from the author's collection and also showcases selected images and illustrations from extensive research. Discover a part of this story below.
.jpg?1570002957 "La Muralla Roja / Ricardo Bofill. Image Courtesy of Ricardo Bofill")
