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City Of Ideas

Benjamín Romano: "I Focus on Improving the Building"

09:30 - 23 February, 2018
Torre Reforma. Image © Alfonso Merchand
Torre Reforma. Image © Alfonso Merchand

Visiting Mexico City several times in recent months enabled me to get to know a number of leading architects there. In the process, I was in turn directed to other architects that were new to me, whom I then discovered were, in fact, the leading and most revered architects in the country according to the local architectural community. I am particularly referring to Alberto Kalach and Mauricio Rocha, whose interviews were published in this column last year, and Benjamín Romano, whose name came up when I asked a number of architects to cite their favorite building from recent years in Mexico City. Along with the absolute favorite, Vasconcelos Library by Kalach, another structure stood out: Torre Reforma, a 57-story office tower, the tallest building in the city. The following conversation with Romano, its architect, took place inside this unusually powerful and inventive structure.

Torre Reforma. Image © Alfonso Merchand Torre Reforma. Image © Alfonso Merchand Torre Reforma. Image © Alfonso Merchand Torre Reforma. Image © Alfonso Merchand + 33

Tatiana Bilbao: “Architecture Should Benefit Every Single Human Being on This Planet”

09:30 - 12 January, 2018
Tatiana Bilbao: “Architecture Should Benefit Every Single Human Being on This Planet”, House in Ajijic, Jalostitlán, Mexico, 2010. Image © Iwan Baan
House in Ajijic, Jalostitlán, Mexico, 2010. Image © Iwan Baan

As part of a generation of designers that have, in recent years, put Mexico on the map, Tatiana Bilbao is an architect that is increasingly part of the profession’s global consciousness. But, while some Mexican architects have made their mark with spectacular architecture following the international trend of “iconic” architecture, Bilbao opted instead for a more people-focused approach. In this interview, the latest in Vladimir Belogolovsky’s “City of Ideas” series, Bilbao explains how she got into this type of community-building architecture, her thoughts on architectural form, and her ambitions for the future.

Vladimir Belogolovsky: The more I talk to architects of your generation or my generation, the more it becomes apparent that architecture has absolutely no boundaries. In other words, architecture is not just about buildings. More and more, architecture is about building communities.

Tatiana Bilbao: Absolutely. For me, that is the most important part of architecture. Architecture is not about building a building; architecture is about building a community.

Housing in Ciudad Acuña, Mexico, 2015. Image © Jaime Navarro Bioinnova, Culiacán Rosales, Mexico, 2012. Image © Iwan Baan House in Ajijic, Jalostitlán, Mexico, 2010. Image © Iwan Baan Casa Ventura, San Pedro Garza Garcia, Mexico, 2011. Image © Rory Gardiner + 20

LOT-EK: “The Shipping Container Is a Vehicle to Invent New Architecture”

09:30 - 3 January, 2018
LOT-EK: “The Shipping Container Is a Vehicle to Invent New Architecture”, PUMA City, 2008. Image © Danny Bright
PUMA City, 2008. Image © Danny Bright

Shipping containers, once a darling of architectural upcycling, have received a lot of criticism recently, as architects are beginning to recognize that their perceived advantages—ready-made habitable space and structure, and an opportunity to recycle a widely available material—are based in little more than hopeful PR spin. But for one of the most prominent practices which regularly uses shipping containers in their work, LOT-EK, the attraction of these architectural ready-mades always went beyond the ecological and practical rationalizations provided by others. In this interview at the firm's New York studio, part of Vladimir Belogolovsky’s “City of Ideas” series, LOT-EK founders Ada Tolla and Giuseppe Lignano discuss the conceptual foundations of their fascination with shipping container architecture.

Carroll House, Brooklyn, New York, USA, 2016. Image © Danny Bright PUMA City, 2008. Image © Danny Bright Qiyun Mountain Camp, Huangshan, China, 2015. Image © Noah Sheldon Irving Place Carriage House, Brooklyn, New York, USA, 2014. Image © Danny Bright + 48

Eduardo Souto de Moura: “I Look Beyond Solution; I Look For an Expression”

09:30 - 14 December, 2017
Eduardo Souto de Moura: “I Look Beyond Solution; I Look For an Expression”, Casa das Histórias Paula Rego, 2008. Image © Fernando Guerra | FG+SG
Casa das Histórias Paula Rego, 2008. Image © Fernando Guerra | FG+SG

The architectural approach of 2011 Pritzker Prize-winner Eduardo Souto de Moura can be difficult to summarize. His convictions on matters of aesthetics and design are strongly held, but also highly individual and at times even unusual. In his work, this translates to buildings that are enigmatic, yet not flashy—in the words of the 2011 Pritzker Prize jury, “His buildings have a unique ability to convey seemingly conflicting characteristics—power and modesty, bravado and subtlety, bold public authority and sense of intimacy—at the same time.” In the latest interview from his “City of Ideas” series, Vladimir Belogolovsky speaks to Souto de Moura to probe his architectural mind and understand the thinking behind these powerful yet modest works.

Vladimir Belogolovsky: I had a chance to visit your Paula Rego Museum in Cascais outside of Lisbon, which is a very sculptural composition of iconic forms...

Eduardo Souto de Moura: Why are you saying it is sculptural? I don’t agree.

Braga Municipal Stadium, 2003. Image © Leonardo Finotti Convento Das Bernardas, 2012. Image © Luis Ferreira Alves Cantareira Building, 2013. Image © Luis Ferreira Alves Santa Maria do Bouro Convent, by Eduardo Souto de Moura and Humberto Vieira, 1997. Image © Luis Ferreira Alves + 21

Victor Legorreta: “Sometimes, Architects Take Themselves Too Seriously”

09:30 - 17 November, 2017
Victor Legorreta: “Sometimes, Architects Take Themselves Too Seriously”, Pavilion Hacienda Matao, 2014. Image © Cristiano Mascaro
Pavilion Hacienda Matao, 2014. Image © Cristiano Mascaro

As the son of famed Mexican architect Ricardo Legorreta, and now the leader of the firm which he joined under his father in 1989, Victor Legorreta is one of Mexico’s most visible architects. In this interview, the latest in Vladimir Belogolovsky’s “City of Ideas” series, Legorreta discusses the complexities of following in the footsteps of his father and how, in his view, good architecture is made.

Vladimir Belogolovsky: What kind of projects are you working on at this moment?

Victor Legorreta: We work on a variety of projects—about 60 percent are in Mexico and the rest are abroad. Mexico City is increasingly becoming a vertical city in its attempt to reverse its tendency of growing into an endless and dysfunctional sprawl. We are working on several mixed-use towers with retail, entertainment, restaurants, offices, and residential uses in a single building to enable people to find everything they need within easy reach, to lessen the pressure on traffic, which in the city is now among the worst in the world. We are also working with The Aga Khan Foundation on two projects—a university in Tanzania and a hospital and university in Uganda.

BBVA Bancomer Tower, 2016 / LEGORRETA + Rogers Stirk Harbour + Partners. Image © Lourdes Legorreta Visual Arts Center, Santa Fe, 1999. Image © Lourdes Legorreta Papalote Children's Museum and Planetarium, 1993, planetarium 2003, renovation 2016. Image © Ma. Dolores Robles-Martinez Gómez Postgraduate Building, Faculty of Economics, UNAM, 2010. Image © Allen Vallejo + 59

Interview with Javier Sanchez: “Where are the Projects? Let’s Find Them!”

09:30 - 17 October, 2017
Interview with Javier Sanchez: “Where are the Projects? Let’s Find Them!”, The 22, Lima, Peru, 2010. Image © Eduardo Hirose
The 22, Lima, Peru, 2010. Image © Eduardo Hirose

In the decade since the start of the financial crisis, there has been an explosion in the number of architectural practices that have pursued unusual and ingenious business models—among the most popular of which is the concept of the developer-architect, who serves as their own client. With his architecture firm and development company JSa, Javier Sanchez has been proving this concept since long before the financial crisis hit. In the latest interview of his City of Ideas series—and the third of his interviews with Mexican architects after Enrique NortenAlberto Kalach and  Mauricio Rocha and Gabriela Carrillo—Vladimir Belogolovsky speaks to Sanchez about the benefits of working as one’s own client and how JSa leverages its business model to improve the city.

Vladimir Belogolovsky: You are often described as a developer first and an architect second. Is that accurate? How do you see yourself?

Javier Sanchez: Well, I started as a developer and I became an architect as a consequence. In fact, in the beginning, I only worked as a developer. Now about three-quarters of our projects are for other clients and only a quarter we develop ourselves. I think of development as a tool that enables me to do my architecture. This is what I learned directly from my father’s partner who, apart from heading their architecture studio, worked on small-scale development projects on his own, in partnership with investors. He was both an architect and client, which was intriguing to me. In a way, it was almost like being an artist, since artists don’t usually have clients. I like the idea that an architect can face himself and the project directly without having a client.

Carlota Hotel, Mexico City, Mexico, 2015. Image © Rafael Gamo Spanish Cultural Center, Mexico City, Mexico, 2012. Image © Rafael Gamo Hotel Condesa, Mexico City, Mexico, 2005. Image © Luis Gordoa Amsterdam Tower, Mexico City, Mexico, 2012. Image Courtesy of JSa + 58

Mauricio Rocha and Gabriela Carrillo: “It is Important Not to Doubt That Architecture is Art”

09:30 - 13 September, 2017
Estudio Iturbide, Coyoacán, México City, 2016-2017. Image Courtesy of Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo
Estudio Iturbide, Coyoacán, México City, 2016-2017. Image Courtesy of Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo

In August I moderated a round table at UNAM in Mexico City in which I posed a provocative question: is architecture art? The participants, architects Mauricio Rocha, Gabriela Carrillo, and Victor Legorreta argued that despite architecture’s limitations, it is architects’ attempts to overcome them that makes it art. Meanwhile Gabriel de la Mora, an artist trained as an architect, drew a line, separating the two disciplines: “Art is art and architecture is architecture,” he insisted. Yet both sides were not quite satisfied with their initial assertions and the discussion continued, opening up to many interesting positions that pulled and pushed the interlocutors closer together and further apart with every attempt to give an explanation. I loved the discussion and I hoped we would not reach any definitive answers; the last thing we need in architecture is a consensus. It is our insistence on questioning that leads to new visions and unique solutions.

The following is my conversation with Rocha and Carrillo, as part of my City of Ideas column, in which we talked about their desire to make gravity feel light, seeing each project as a dialogue, their love for making decisions based on accidents, and their disinterest in being perfect. The architects strive to achieve a “meaningful silence” and they prefer to pay no notice to that line between architecture and art, the boundary that so few architects even dare to approach.

School of Plastic Arts, Oaxaca de Juárez, México, 2007. Image Courtesy of Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo Library for Blind and Visually Impaired People, Ciudadela, Mexico City, 2012-2013. Image Courtesy of Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo Compensatory Care Center for Blind and Visually Impaired, Mexico City, 2001. Image Courtesy of Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo Academic and Cultural Center of San Pablo, Alfred Harp-Helú Foundation, Oaxaca de Juarez, Oaxaca, 2008-2011. Image Courtesy of Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo + 72

Alberto Kalach: “Imagine if All Rooftops in Our City Were Green!”

09:30 - 11 August, 2017
Alberto Kalach: “Imagine if All Rooftops in Our City Were Green!”, Reforma 27. Image © Yoshihiro Koitani
Reforma 27. Image © Yoshihiro Koitani

Last month I went on an enlightening trip to Mexico City, during which I had a chance to meet with half a dozen leading Mexican architects and critics. Those meetings included insightful conversations with Miquel Adrià, Tatiana Bilbao, Victor Legorreta, Mauricio Rocha, and Michel Rojkind among others (many of which will also feature in future installments of City of Ideas). I asked them many different questions, but two were consistent: “who would you name as Mexico’s best architect at this moment?” and “what one building built in the capital over the last decade is your favorite?” All of my interviewees pointed to Alberto Kalach (born 1960) and his Vasconcelos Library (2007). My Conversation with Kalach took place the next day after visiting the library on the rooftop of another one of his iconic buildings, Tower 41 overlooking Bosque de Chapultepec, Mexico City’s Central Park. We spoke about books, libraries, and his idea of buildings as inventions.

Vasconcelos Library. Image © Yoshihiro Koitani Galería Kurimanzutto. Image © Pedro Rosenbleuth Tower 41. Image © Yoshihiro Koitani Tower 41. Image © Yoshihiro Koitani + 95

Christian de Portzamparc: “No One But an Architect Can Solve the Problems of the Contemporary City”

08:30 - 7 July, 2017
Christian de Portzamparc: “No One But an Architect Can Solve the Problems of the Contemporary City”, Luxembourg Philharmonie, Luxembourg, 2005. Image © Wade Zimmerman
Luxembourg Philharmonie, Luxembourg, 2005. Image © Wade Zimmerman

Of the Pritzker Prize’s illustrious list of laureates, the 1994 winner Christian de Portzamparc is perhaps the least covered by the media. However, this relatively low profile belies the subtle and insightful understanding of architectural and urban issues that in many ways puts him decades ahead of the curve – with the sociologically-led principles he has been developing since the early 1980s now becoming widely popular in architectural circles. In this interview, the latest in Vladimir Belogolovsky’s “City of Ideas” column, Portzamparc explains the journey that led to this unique take on architecture.

Paris Opera Ballet School, Nanterre, 1987. Image © Nicolas Borel Credit Lyonnais Tower, Lille, 1995. Image © Wade Zimmerman Cidade das Artes, Rio de Janeiro, 2013. Image © Hufton + Crow Suzhou Cultural Center Proposal, Suzhou, 2017. Image © Christian de Portzamparc + 69

Interview With Thom Mayne: “I Am a Pragmatic Idealist”

09:30 - 9 May, 2017
Interview With Thom Mayne: “I Am a Pragmatic Idealist”, Emerson College Los Angeles, 2014. Image © Iwan Baan
Emerson College Los Angeles, 2014. Image © Iwan Baan

For many observers, Thom Mayne might easily be considered the most unpredictable personality in architecture. Once labeled the “bad boy of architecture” by critics—a moniker which he has, at times, enthusiastically adopted and even encouraged—Mayne's actions in the architecture world can range from something as responsible as designing one of the United States' most sustainable university campuses to something as outrageous as proposing one of the world's tallest towers in a revered Austrian mountain town. In this interview, the latest from Vladimir Belogolovsky's “City of Ideas” series, Mayne discusses his ideas, his past statements on architecture, and where he thinks the profession will go next. The interview was originally published by the Berlin-based SPEECH Magazine.

Diamond Ranch High School, 2000. Image © Brandon Welling The Cooper Union for the Advancement of Science and Art, 2006. Image © Iwan Baan Bill & Melinda Gates Hall, 2014. Image © doublespace photography Four-Towers-in-One competition proposal for Shenzhen. Image Courtesy of Morphosis + 34

Soo Chan: “Architecture is About Preserving a Way of Life, Not Simply Introducing a New Formal Language”

09:30 - 5 April, 2017
Soo Chan: “Architecture is About Preserving a Way of Life, Not Simply Introducing a New Formal Language”, Soori Bali, Indonesia, 2005. Image Courtesy of SCDA Architects
Soori Bali, Indonesia, 2005. Image Courtesy of SCDA Architects

By combining such concepts as phenomenology, sustainability and formal exploration, which have become part of a particularly Singaporean conception of architecture, Soo Chan of SCDA Architects occupies an unusual niche within the architecture profession. To complement this wide range of interests, his firm also engages in a wide range of activities, working on architecture, landscape, and interiors projects, and even acting as its own developer on a number of occasions. In this latest interview from Vladimir Belogolovsky's “City of Ideas” column, Chan discusses the early experiences that led to his current understanding of architecture, and how the context of Singapore has affected his designs.

Vladimir Belogolovsky: Was architecture on your mind from an early age? What was it that first attracted you to the discipline?

Soo Chan: I was deeply influenced by the house I grew up in, the Khoo Kongsi compound in Penang, an island off the west coast of Malaysia. Khoo Kongsi was planned around a central communal courtyard where many generations of my extended family lived, and it is a UNESCO World Heritage site today. I can still picture the spatial and light qualities of the long and narrow house I grew up in, punctuated with open air wells. I remember the smell of fresh rain coming deep into the house on to the sunken courts, and the pockets of light and darkness in the house.

National Design Centre, Singapore, 2011. Image Courtesy of SCDA Architects SkyTerrace@Dawson, Singapore, 2006. Image Courtesy of SCDA Architects Soori Bali, Indonesia, 2005. Image Courtesy of SCDA Architects SkyTerrace@Dawson, Singapore, 2006. Image Courtesy of SCDA Architects + 49

Paul Andreu: "I Would Only Take On a Project if the Ideas Were Mine. Otherwise, I Am Not Interested."

09:30 - 7 March, 2017
Charles-de-Gaulle airport, Terminal 1, Paris, 1967-1974. Image © Paul Maurer
Charles-de-Gaulle airport, Terminal 1, Paris, 1967-1974. Image © Paul Maurer

For 40 years, Paul Andreu was among the world's foremost airport design experts. Reflecting on this before the turn of the millennium, he stated that architectural historians of the future might consider the 1990s as “the age of the air terminal.” But shortly after this, he left the arena of airport design to focus on other large projects, many of them in China. In this interview, the latest of Vladimir Belogolovsky's “City of Ideas” series, Andreu explains why he made the switch and shares his thoughts on how good architecture is made—saying it often depends more on what you don't tell your client than what you do.

Paul Andreu: Before we start, I must explain something. I am an architect and engineer. For a long time I was not an independent architect but worked at and then was the head of airport works at Aéroports de Paris Ingénierie or ADPi, a subsidiary of Aéroports de Paris (ADP). This public establishment is not only in charge of the planning, design, and operation of three Paris-region airports, but is also involved in airport works all around the world, as well as other large-scale architectural projects. First, we did airports in France, then in the Middle East and Africa, then in China and all over Asia, and then we developed projects in other parts of the world. Most of the time we developed our projects from concept all the way through construction; although once we did just the concept for Kansai airport on a specially built island in the Bay of Osaka. As you know, it was designed by Renzo Piano and I consulted for him on function and circulation aspects.

Charles-de-Gaulle airport, Terminal II, modules A & B, Paris, 1972-1982. Image © Labo ADP Charles-de-Gaulle airport, Terminal II, modules A & B, Paris, 1972-1982. Image © Labo ADP New airport of Jakarta, Sukarno-Hatta, Indonesia, 1977-1985. Image © Labo ADP National Centre for the Performing Arts (Opéra de Pékin), Beijing, China, 1999-2007. Image © Paul Maurer + 69

Emilio Ambasz: “I Detest Writing Theories, I Prefer Writing Fables”

09:30 - 24 January, 2017
Casa de Retiro Espiritual. Image Courtesy of Emilio Ambasz
Casa de Retiro Espiritual. Image Courtesy of Emilio Ambasz

While many of the pioneers of green architecture could arguably be criticized as technocratic and dry, this has never applied to Emilio Ambasz. His concept of “green over gray” has been pushing the debate around sustainability forwards since the 1970s, but alongside this concept he has developed a critical approach to architectural meaning and form-making which competes with many of architecture's more poetic practitioners. Ahead Vladimir Belogolovsky's upcoming exhibition of Ambasz's work, “Emilio Ambasz: Architecture Toward Nature,” which is on show at the Singapore's Urban Redevelopment Center from February 6th – 28th, here Belogolovsky shares his interview with the architect – the latest interview in his “City of Ideas” column.

Vladimir Belogolovsky: I read that you knew you wanted to be an architect at an early age and when you were 11, you even dared to propose an exhibition on American architecture in Buenos Aires. What was it that prompted your initial interest in architecture?

Emilio Ambasz: I was interested in architecture since I was nine, I think. I am a person of steady ideas. Once I have an idea that’s it, I persist. I wanted to become an architect and that led to my applying to Princeton. I sent my application with a wax seal telling them that I went to bed every night with the idea of wanting to be an architect and woke up every morning with this idea…

Banca degli Occhi in Venice-Mestre. Image Courtesy of Emilio Ambasz Fukuoka Prefectural International Hall. Image Courtesy of Emilio Ambasz Casa de Retiro Espiritual. Image Courtesy of Emilio Ambasz Ospedale dell’Angelo in Venice-Mestre. Image Courtesy of Emilio Ambasz + 36

Interview with Álvaro Siza: “Beauty Is the Peak of Functionality!”

09:30 - 11 January, 2017
Interview  with Álvaro Siza: “Beauty Is the Peak of Functionality!”, Fundação Iberê Camargo. Image © Fernando Guerra | FG + SG
Fundação Iberê Camargo. Image © Fernando Guerra | FG + SG

Throughout the 60-year career of Álvaro Siza, his work has continuously defied categorization--having variously been described as “critical regionalism” and “poetic modernism,” with neither quite capturing the true essence of Siza's intuitive architecture. In this interview, the latest in Vladimir Belogolovsky's “City of Ideas” series, Siza discusses those attempts to categorize his work, his design approach and the role of beauty in his designs.

Vladimir Belogolovsky: Your student, Eduardo Souto de Moura said, “Siza’s houses are just like cats sleeping in the sun.”

Álvaro Siza: [Laughs.] Yes, he meant that my buildings assume the most natural postures on the site. There is also a reference in that to the human body.

Auditorium Theatre of Llinars del Valles . Image © Fernando Guerra | FG + SG Fire Station in Santo Tirso. Image © Joao Morgado - Architecture Photography The Building on the Water / Álvaro Siza + Carlos Castanheira. Image © Fernando Guerra | FG + SG Boa Nova Tea House. Image © Samuel Ludwig + 33

Sergei Tchoban: “We Cannot Avoid Looking At Architecture; Architecture Should Be Beautiful”

10:30 - 29 December, 2016
Sergei Tchoban: “We Cannot Avoid Looking At Architecture; Architecture Should Be Beautiful”, Music- & Lifestyle Hotel nhow, 2010, Berlin. Image © Thomas Spier
Music- & Lifestyle Hotel nhow, 2010, Berlin. Image © Thomas Spier

After receiving his education at the Repin Institute for Painting, Sculpture and Architecture in St. Petersburg, Sergei Tchoban moved to Germany at the age of 30. He now runs parallel practices in both Berlin and Moscow, after becoming managing partner of nps tchoban voss in 2003 and co-founding SPEECH with Sergey Kuznetsov in 2006. In 2009, the Tchoban Foundation was formed in Berlin to celebrate the lost art of drawing through exhibitions and publications. The Foundation’s Museum for Architectural Drawing was built in Berlin in 2013 to Tchoban’s design. In this latest interview for his “City of Ideas” series, Vladimir Belogolovsky spoke to Tchoban during their recent meeting in Paris about architectural identities, inspirations, the architect’s fanatical passion for drawing, and such intangibles as beauty.

Villa in Wasiljewo, 2009, near Saint Petersburg. Image © Aleksey Naroditsky Museum for Architectural Drawing, 2013, Berlin. Image © Roland Halbe Actor Galaxy, 2015, Sotchi. Image © Aleksey Naroditsky Expo Pavilion Milan, 2015, Milan. Image © Aleksey Naroditsky + 45

Interview with Neil Durbach: “You Don't Want to do the Same Thing Again; You Want to do Better!"

09:30 - 14 December, 2016
Interview with Neil Durbach: “You Don't Want to do the Same Thing Again; You Want to do Better!", Holman House (2004). Image © Peter Bennetts
Holman House (2004). Image © Peter Bennetts

Alongside Camilla Block and David Jaggers, Neil Durbach of Durbach Block Jaggers has carved out a unique place in Australian architecture. Known primarily for their carefully sculpted modernist houses, the firm's architecture is simultaneously rich in architectural references and thoroughly original. In this interview, the latest in Vladimir Belogolovsky's “City of Ideas” series, Durbach explains the true inspirations behind their work, why these inspirations have little to do with the public descriptions of their projects, and why for him, the intention of all of his architecture “is to win Corb’s approval.”

Vladimir Belogolovsky: You came to Australia while the Sydney Opera House was still under construction. Does this mean you were here even before going to the US?

Neil Durbach: Yes, I first came to Australia as an exchange student while still in high school.

VB: So you have seen the Opera under construction then. How special was that? Did that building change anything in particular in you?

ND: Well, at that time I wanted to be an artist. A friend took me on a boat to see it. It was kind of staggering... And I thought – you know, this is much more interesting than art. And I felt – maybe architecture is what I should pursue.

Commonwealth Place (2002). Image © John Gollings North Bondi Surf Life Saving Club (2013). Image © John Gollings Roslyn Street (2009). Image © Anthony Browell UTS Thomas St Building (2014). Image © Anthony Browell + 42

Interview with WOHA: “The Only Way to Preserve Nature is to Integrate it into Our Built Environment”

09:30 - 25 November, 2016
Interview with WOHA: “The Only Way to Preserve Nature is to Integrate it into Our Built Environment”, PARKROYAL on Pickering, Singapore. Image © Patrick Bingham-Hall
PARKROYAL on Pickering, Singapore. Image © Patrick Bingham-Hall

Driven by the hyper-density of the city-state from which they operate, WOHA have emerged as Singapore's quintessential architects. Combining a locally-specific approach to climate control and spatial planning with an international approach to form and materials, their work holds lessons that can be instructive to architects in all climates. In this interview, the latest in his “City of Ideas” column, Vladimir Belogolovsky speaks to WOHA founders Wong Mun Summ and Richard Hassell about their environmental approach and the future of our global cities.

Newton Suites, Singapore. Image © Patrick Bingham-Hall SkyVille@Dawson, Singapore. Image © Patrick Bingham-Hall SkyVille@Dawson, Singapore. Image © Patrick Bingham-Hall Oasia Hotel Downtown, Singapore. Image © Patrick Bingham-Hall + 24

Jeanne Gang: “Without an Intellectual Construct Life is Boring”

09:30 - 3 November, 2016
Jeanne Gang: “Without an Intellectual Construct Life is Boring”, Arcus Center for Social Justice Leadership, Kalamazoo, Michigan, 2014. Image © Hedrich Blessing. Photographer Steve Hall
Arcus Center for Social Justice Leadership, Kalamazoo, Michigan, 2014. Image © Hedrich Blessing. Photographer Steve Hall

Jeanne Gang, the founder of Studio Gang Architects, has made a name for herself as a designer who can design both show-stopping skyscrapers and sensitive small-scale buildings. From her breakout 2009 Aqua Tower project, to the hypothetical “Polis Station” proposal presented at last year's Chicago Architecture Biennial, Gang has established herself as perhaps Chicago's leading architect.

Gang is also included as part of Vladimir Belogolovsky's ongoing City of Ideas exhibition tour, representing Chicago among 9 other significant architects, each from a different global city. With the exhibition currently in Gang's home city at the Chicago Design Museum until February 25th, here as part of his City of Ideas column on ArchDaily Belogolovsky presents a shortened version of the interview featured in the exhibition.

Aqua Tower, Chicago, 2009. Image © Hedrich Blessing. Photographer Steve Hall Arcus Center for Social Justice Leadership, Kalamazoo, Michigan, 2014. Image © Iwan Baan Writers Theater, Glencoe, Illinois, 2016. Image © Hedrich Blessing. Photographer Steve Hall WMS Boathouse at Clark Park, Chicago, 2013. Image © Hedrich Blessing. Photographer Steve Hall + 55