Around 1949, the city of Buenos Aires led the construction of the Sixth Pantheon in the Chacarita neighborhood. Monumental in character and brutalist in style, this underground necropolis turned out to be the first and largest experiment in modern architecture in the funerary field. Designed by Ítala Fulvia Villa, one of the first Argentine women architects and urban planners, and a pioneer of South American modernism, along with her team comprised of Leila Cornell, Raquel S. de Días, Gunter Ernest, Carlos A. Gabutti, Ludovico Koppman, and Clorindo Testa, this work was discovered by Léa Namer, who conducted an in-depth investigation reflecting on the legacy of a modern utopia and a feminist rereading of history.
In response to the diverse topographies and natural conditions throughout the Argentine territory, the works of Luciano Kruk propose an architecture that works in harmony with the environment, the landscape, and the nature in which they are situated. Whether immersed in a forest, on sloping terrain, or on a rural plain, among other geographies, his intention is to enhance the relationship between the interior and exterior of the architecture, using concrete as the main material in most of his projects.
It's fundamental that architects know about structures, not only to bring their designs to reality but also to be able to discuss their projects with engineers in order to find the best solutions for construction. Structural pre-dimensioning is crucial to the initial design of the structural components, revealing the restrictions and the possibilities of the spaces.
One of the main loads that a structure must support is its own weight, so it's essential to know this information so that the different parts of the building can be dimensioned. When starting a structural project, the engineer doesn't yet know the dimensions of the different pieces that make up the structure, and therefore, can't know their own weight. A paradox appears without a solution: to know the weight it's necessary to know the dimensions, but, to know the dimensions, it's necessary to know the weight.
During the development of the project the architect finds himself in the curious situation of having to design without necessarily knowing the size of each of the parts of the building (such as the size of the pillars, for example). These important elements directly affect functionality and aesthetics of the project.
https://www.archdaily.com/891880/learn-to-pre-dimension-a-reinforced-concrete-structureJoão Carlos Souza
If there is any consistent factor in his work, says Pritzker-winning architect Tadao Ando, then it is the pursuit of light. Ando’s complex choreography of light fascinates most when the viewer experiences the sensitive transitions within his architecture. Sometimes walls wait calmly for the moment to reveal striking shadow patterns, and other times water reflections animate unobtrusively solid surfaces. His combination of traditional Japanese architecture with a vocabulary of modernism has contributed greatly to critical regionalism. While he is concerned with individual solutions that have a respect for local sites and contexts Ando’s famous buildings – such as the Church of the Light, Koshino House or the Water Temple – link the notion of regional identity with a modern imagining of space, material and light. Shoji walls with diffuse light are reinterpreted in the context of another culture, for instance, filtered through the lens of Rome’s ancient Pantheon, where daylight floods through an oculus. Ando’s masterly imagination culminates in planning spatial sequences of light and dark like he envisioned for the Fondation d’Art Contemporain François Pinault in Paris.
Carlson-Reges House (1992-1996). Image Courtesy of Michael Rotondi
Michael Rotondi’s buildings—museums, civic centers, education facilities, monasteries, restaurants, and residences—evoke kinetic mechanisms that fold, hinge, twist, and split open. They express the architect’s feelings, thinking, and mood at the time they had been designed, and, on some occasions, during their assembly and construction. Rotondi was born in 1949 in Los Angeles.
He established his RoTo Architects, a research-based firm in his native city, in 1991 after co-heading Morphosis for 16 years with Thom Mayne. Parallel to his practicing career, the architect has been teaching and lecturing at SCI-Arc, Southern California Institute of Architecture, which he co-founded in 1972, led its graduate program from 1978-1987, and was the school’s second director for a decade from 1987 to 1997.
Material researchers and Ph.D. students at Imperial College London, Sam Draper and Barney Shanks have won the 2022 OBEL AWARD for Seratech, a solution for carbon-neutral concrete. With a special focus this year on “embodied emissions”, the OBEL AWARD jury selected scientists to obtain the architecture award to “encourage innovative cross-disciplinary solutions to the challenges of climate change”.
Vista de la entrada principal. Image Cortesía de Weberhofer, W. (1970). Edificio PetroPerú. [Fotografías]. Archivo de la familia Weberhofer, Lima. Visitado el 3 de octubre de 2014
The Petroperú building, jointly designed by architects Walter Weberhofer and Daniel Arana Ríos, was the result of a state competition held by the military government of Velasco Alvarado in the early 1970s. The building, strategically located in the capital of Peru, within the prosperous district of San Isidro, was designed to house the recently created state company in charge of the whole petroleum process of the country (Petroperú S.A.). The monumental building, built and inaugurated in 1973, became the symbol of the newly installed regime.
Contemporary challenges and developments in technology inevitably trigger changes in the way we design and build our cities. SUMMARY, one of ArchDaily's Best New Practices of 2021, is a Portuguese architecture studio focused on the development of prefabricated and modular building systems. Striking a balance between pragmatism and experimentalism, the firm develops prefabricated solutions in order to respond to a driving challenge of contemporary architecture—to speed up and simplify the construction process. Founded in 2015 by the architect Samuel Gonçalves, a graduate of the School of Architecture of the University of Porto, the studio has presented at prominent events such as the 2016 Venice Biennale. We talked with Samuel about the firm's practical experience in prefabrication and modulation, as well as their experiments and forays into research.
Cactus Towers (Kaktustårnene), Copenhague. Image Cortesía de Sigfox España
Control of concrete strength and maturity in large-scale projects has traditionally been recorded and measured manually. Nowadays, there are new technologies that allow builders to melt sensors directly into the concrete, which –connected to a transmitter– show continuous data on the material's temperatures, sending this data wirelessly to the cloud platform. The software then automatically calculates maturity and strength based on historical data, so the concrete mix and strength development process can be followed from any device and in real-time.
These sensors, based on 0G technology from Sigfox –one of the main IoT (Internet of Things) operators worldwide– have facilitated the construction of one of the most innovative architectural projects in Europe, the Cactus Towers (Kaktustårnene) in Copenhagen, helping calculate the exact moment to remove the formwork that shapes its characteristic façade.
A masterpiece is often defined as the most remarkable work in an artist's career, one which highlights the height of their techniques and ideals. The Mona Lisa by Leonardo da Vinci; Michelangelo's Pietá; the Beatles' Sgt. Pepper's Lonely Hearts Club Band album. There are many examples, which are not always unanimously agreed upon. But what if what many consider to be the masterpiece was started by someone else, the credited creator didn't live to see its completion, and almost all of its documentation was destroyed? Catalan architect Antoni Gaudí and his world-famous Temple Expiatori de la Sagrada Família are examples of these complications. From a highly crafted stone construction to the most modern 3D printing techniques and high strength concrete, numerous technologies were and continue to be incorporated in the project's construction.
Bridge House / BIO-architects. Image Cortesia de Ivan Ovchinnikov
Metaphorically, building bridges equates to creating new opportunities, connections, and paths. The first bridges likely formed naturally with logs falling across rivers and natural depressions, though humans have also been building rudimentary structures to overcome obstacles since prehistory. Today, technological advances have made it possible to erect bridges that are both impressive and sculptural, playing a key role in transportation and connectivity. Usually needing to overcome large spans, with few points of support, bridges can be quite difficult to structure. But when is the bridge more than a connection between two points, instead resembling a building with a complex program? How can these 'bridge houses' be structured?
It's no secret that concrete has one of the highest CO2 emissions of all building materials, making it a focal point for architects looking to innovate and experiment with it as a way to optimize its production and application in construction while decreasing its environmental impact. This exploration of elements such as concrete's thermal inertia, which could serve to make buildings more energy efficient, as well as its durability, which guarantees a long-lasting, zero- maintenance structure even in the most extreme of climates. The ultimate goal is to create luminous living spaces with natural ventilation while simultaneously exploring the possibility of reusing frameworks as a way of cutting costs and streamlining the building process.
Concrete, a material commonly used in the construction industry, is made of a binder combined with aggregates (or gravels), water, and certain additives. Its origins reach back as far as Ancient Egypt, when the construction of large structures created the need for a new kind of material: one which was liquid, featured properties of natural stones, could be molded, and communicated a sense of nobility and grandeur.
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