According to the Spanish Ministry of Transport, Mobility and Urban Agenda, the draft Law on the Quality of Architecture was finally approved on the 8th of June, after achieving the backing of a large majority, without any votes against, of the Senate Plenary, thus ending its parliamentary processing with a large consensus.
Living in an urban environment is demanding. Busy and competitive lifestyles leave people numbed from the effects of stress. Individuals in urban areas are more prone to mental health issues and demonstrate a noticeable lack of personal connection. Rosy city lights and skyscrapers are thorned with rising stress levels, posing an essential question to architects - how do spaces affect wellbeing?
The history and culture of the Philippines are reflected in its architectural heritage, with numerous influences from other nations paving the way for the contemporary designs we see today, a mixité of cultural influences amongst Western-style buildings. Philippine architecture has grown along with the progress of the nation and its people, but memories of a glorious past are still embedded within the nation’s history.
The current Philippine architecture is an outcome of authentic growth that has enriched the reception of its influences. Its architectural landscape is a contrast between small traditional huts; towering Spanish colonial fortifications; American Commonwealth architecture; and today’s contemporary, concrete structures of the cities. As a result, the Philippines has become an architectural melting pot. This article will explore the ways in which residential architecture and dwellings in the Philippines have since evolved from its initial, humble designs, to the towering structures we see today.
MVRDV and The Why Factory's have collaborated on an exhibition that explores the principles of "architecture and urbanism calls to action”. Titled "Agir", the exhibition is open to the public since June 9th, in the connected spaces of the ArchiLib Gallery and MVRDV’s Paris office. The exhibition takes its name from the French verb meaning “act”, and examines the activist works of MVRDV and The Why Factory, revealing its capacity to address a wide variety of environmental and social challenges.
Grimshaw has revealed the final design for City Rail Link, or CRL in short, a large infrastructure project in Auckland, New Zealand. The project includes four new train stations and a 3.45km twin-tunnel underground rail up to 42 meters below the city center. It was developed in collaboration with WSP as part of the Link Alliance, a consortium of seven companies tasked with delivering the main stations and tunnels for the CRL project. The design of the stations is also developed in partnership with Mana Whenua, a local tribal authority that aims to integrate the narrative of the Māori creation story, Te Ao Marama, into the design. Each station's image and identity are a result of this collaboration, and it responds to the characteristics of each location as defined by Tāmaki Makaurau, the Māori name for the geographical region of the city of Auckland.
"in downtown New Delhi, huge curved structures sink in the ground, taking the form of a ramp. Amorphous voids mark the great twisted walls. The color red marks the structures and sets them apart from everything else."
This could describe a playground or even a skate park, but it is one of five astronomical observatories built in India between 1724 and 1738. These mazy volumes, which look more like a materialization of Escher's drawings, were conceived by the Indian prince Jai Singh as part of an ambitious project that sought to put architecture at the service of science. Their shapes make complex astronomical analysis possible, such as predicting eclipses, tracking the location of stars, and determining Earth's exact orbit around the Sun.
The Second Studio (formerly The Midnight Charette) is an explicit podcast about design, architecture, and the everyday. Hosted by Architects David Lee and Marina Bourderonnet, it features different creative professionals in unscripted conversations that allow for thoughtful takes and personal discussions.
A variety of subjects are covered with honesty and humor: some episodes are interviews, while others are tips for fellow designers, reviews of buildings and other projects, or casual explorations of everyday life and design. The Second Studio is also available on iTunes, Spotify, and YouTube.
This week David and Marina are joined by interior architect and designer Jaime Bush, Principal and Founder of Jamie Bush + CO. to discuss growing up with designers, photographers, and artists; studying Architecture abroad in Venice; transitioning into Interior Architecture; the disconnect between Architects and Interior Designers; how to differentiate between Interior Design and Architecture; fee structures; and more.
The term ‘Architectural Forensics’ varies in definition. In short, it refers to the investigation of the built environment, whether that be in relation to crime and injustice or an investigative process to discover the root cause of damage and deterioration in buildings. Often forensic architects are invited to identify potential issues and advise in how to avoid them. The role of this architect is to remain unbiased, identify issues within construction, determine potential causes and suggest solutions. They are to uncover factual evidence, which may aid in future construction or provide answers to issues associated with a particular built environment.
Social responsibility and the desire to improve society has long been influenced by the built environment. Looking at city centers, architecture has contributed to the improvement of the urban fabric, whether it being through planning and zoning strategies, integration of public spaces, or small interventions. In some cases however, these interventions are in fact used as tools to keep the homeless off the streets, disguised as art or conceptual designs. Several public urban policies have all implicitly prohibited the homeless and other marginalized social groups from city centers, claiming that their presence and “irregular” use of public space could compromise the reputation, security, and desirability of the city.
Henning Larsen has unveiled the "Fritz Hansen Pavilion", a sustainably-designed pavilion for the 3daysofdesign event in Copenhagen. Set in Designmuseum's Grønnegården, the Pavilion is developed with a Nordic approach, centered around daylight, using low-carbon materials, and circular design principles. The pavilion is designed to be disassembled, ensuring that its materials can be reused elsewhere. The pavilion will be open to the public during 3daysofdesign 15 – 17 June, and will then be used by Designmuseum Danmark until mid- Autumn.
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Designed for an insurance company, The Centraal Beheer building by Herman Hertzberger in Apeldoorn, Netherlands, is widely recognized as one of the high points of the structuralist movement. MVRDV, in consultation with Herman Hertzberger’s office AHH, is transforming the celebrated building, making it the centerpiece of a new sustainable residential neighborhood while preserving its structure and core principles. The project is part of a larger area of development, a three-hectare site near the city’s train station. MVRDV’s design proposal introduces approximately 650-800 homes while keeping the focus on preservation, greening, and innovation.
The origins of brutalism can be traced to the UK in the 1950s during the post-war period. However, there is no clear record of its initial boundaries or theoretical frameworks. Despite this, it is widely agreed that it sought to uphold constructive sincerity as its main value and that it had, in the execution of Le Corbusier's Marseille Housing Unit (1952), a turning point for its global diffusion (Casado, 2019). For authors such as Banham (1966) or Collins (1977), constructive sincerity in Brutalist buildings does not only refer to material or technical criteria, but also to moral, political or ethical ones. These variables, in nations such as Peru, were fundamental and built an aesthetic while trying, through and from architecture, to construct an idea of a country. This essay seeks to be an approximation to these ideas and experiences.
This article was originally published on Common Edge
Four years ago, the Pritzker Prize–winner Tadao Ando spectacularly converted a 1920s apartment building in the Lincoln Park neighborhood of Chicago into exhibition spaces for a gallery named—in deference to its street address—Wrightwood 659. The gallery is currently staging a resourceful exhibition on wood-frame construction, the method by which more than 90% of U.S. houses are built.
Rarely has wood-framing been the subject of an architectural show. It’s too mundane a topic—or at least it seemed that way until two associate professors at the University of Illinois Chicago, Paul Andersen and Paul Preissner, conceived the American Framing exhibition for the U.S. Pavilion at the 2021 Venice Architecture Biennale. One year after Venice, the much talked-about exhibition makes its American debut at Wrightwood 659.
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The Mies Crown Hall Americas Prize (MCHAP) announced the 48 outstanding projects selected by the MCHAP 2022 jury. From the body of nominated projects, the jury elected 38 entries in MCHAP as outstanding among other submissions. The fourth prize cycle considers built works completed in the Americas between January 2018 to December 2021, nominated by an anonymous network of international experts and professionals.
Reframing culture and identity begins with context and perspective. For London-based architecture practice Studio NYALI, this act of reframing is at the heart of contemporary design. Founded by Nana Biamah-Ofosu and Bushra Mohamed, their work aims to center peripheral identities, cultures and people by examining, challenging and shifting architectural critiques and narratives. This critical perspective moves education and practice towards a more inclusive, holistic understanding of the built environment.
As they've described, Studio NYALI is focused on identity, shared histories and spaces with a strong belief that architecture must be understood as the embodiment and artifact of human experience. Building off their recognition as one of ArchDaily’s Best New Practices of 2021, the following interview explores the studio's interest and work, as well as their latest projects and inspirations. It also highlights how this innovative practice is reimagining more inclusive and equitable futures.
For its 60th and first post-pandemic edition, the Salone del Mobile.Milano was back in full force following two years of setbacks and alternations between digital and physical events. The week-long exhibition, which welcomed over 262,000 visitors from across the world, highlighted the opportunities of environmental consciousness, inviting designers to adopt and reinforce the values of sustainability in the long term, support the protection of human rights, and promote environmental responsibility through design.
One of the most anticipated installations within the Fiera was a centerpiece by Italian architect Mario Cucinella titled “Design With Nature”. The large-scale installation demonstrated the various ways people can improve their relationship with nature, inviting visitors to eat, drink, converse, and work in a piazza-inspired space. During Milan Design Week, ArchDaily had the chance to speak with the architect to discuss the concept behind his installation, the relationship between the city of Milano and Salone, and the importance of valuing our natural resources.
Dock A, the largest dock of the Zurich Airport, was the subject of international competition. BIG forms the winning team as design lead with HOK as aviation architect, 10:8 architects, engineer Buro Happold, timber experts Pirmin Jung, and aviation consultant NACO. Their design proposal centers on passenger experience and movement through the airport. A pared-back material palette reveals the loadbearing system of the building: V-shaped timber columns provide both a structural function and a distinctive identity true to its place and era, according to the jury.
For varied reasons, architects have been driven away from professional practice. Sometimes, however, they continue to design buildings in other media and support. Vinicius Libardoni is an Italian-Brazilian architect and artist who migrated from Autocad to metal engraving, passing through woodcut, and has been building imaginary architectures ever since.
.jpg?1655725729 "© Juan Jerez")
.jpg?1655725498 "© Juan Jerez")
.jpg?1655422503 "Herman Hertzberger - Centraal Beheer offices, Apeldoorn (1968-1972). Image via AHH, used under terms of \"fair use\"")
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.jpg?1654104708 "© Roland Halbe")
.jpg?1654104468 "Bonpland 2169 Building by Adamo-Faiden Buenos Aires, Argentina. Image © Javier Agustín Rojas")
.jpg?1654104406 "Damero Building by Francisco Cadau Oficina de Arquitectura, Campana, Argentina. Image © Gustavo Sosa Pinilla")
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