Seeking to give insights into the architectural creative centers of the world, Rainer Taepper created an architectural book that doesn’t feature buildings and plans. Looking behind the scenes, the architecture photographer highlighted both the working spaces of international design firms and the creative people, who contribute to the conception of a building.
Coop Himmelb(L)Au: The Latest Architecture and News
Architecture and design practice Coop Himmelb(l)au has shared the new vision for the Kemerovo Museum and Theatre Complex in Russia. Located east of the city center between Sovetskiy Prospekt and Pritomskiy Prospekt, the proposed project is part of the Iskitimka river landscape. The complex is made to create a new cultural hub and future architectural landmark within the cityscape.
Dominique Perrault Wins Urban Design Competition to Transform and Revive an Industrial Heritage in China
Dominique Perrault’s proposal has won “the transformation and revival of industrial heritages” or the Hangang district urban design international competition, in Handan, China. Six teams from world-renowned architectural firms, including Coop Himmelb(l)au and UNStudio Team, were invited to participate in the contest and envision the future of the city, through their creative designs.
Conducted by The Citizens’ Brigade to Save LACMA, a recent poll revealed that only 5% approve of the current Peter Zumthor-designed scheme for a new LACMA, 50% Support the renovation of the existing buildings, and 85% favor encyclopedic collection in one location. The public survey also highlighted 3 designs selected out of the shortlisted six proposals of the “LACMA Not LackMA” competition.
Six International Firms Including Coop Himmelb(l)au, Barkow Leibinger, Reiser + Umemoto Propose New Ideas for LACMA
The Citizens’ Brigade to Save LACMA, had organized a competition entitled “LACMA Not LackMA”, in order to collect ideas “that could contribute to an alternate design for a new Los Angeles County Museum of Art”. The selected six designs are from renowned international firms: Barkow Leibinger, Coop Himmelb(l)au, Kaya Design, Paul Murdoch Architects, Reiser + Umemoto, and TheeAe.
Coop Himmelb(l)au have revealed the first images of their winning entry for the new science and technology museum in Xingtai, the oldest city in northern China. The concept generated by the architects celebrates the scientific aspect and progress of the region and anchors the status of Xingtai as a technological hub and key player in the province.
UNStudio and Cox Architecture have officially been announced as the winners of Melbourne’s landmark Southbank Precinct overhaul. Selected from a range of high-profile offices, including BIG, OMA, and MAD, UNStudio's vision for the $2 billion project includes a pair of twisted towers called Green Spine. As the largest single-phase project in the history of Victoria, Australia, the Green Spine is designed as a state-of-the-art, mixed-use environment centered around innovation in architecture and design.
A prominent shortlist including BIG, OMA, and UNStudio have revealed their visions for Melbourne’s landmark Southbank Precinct overhaul. The $2 billion project will be the largest single-phase project in the history of Victoria, Australia, intended as “a state-of-the-art, mixed-use environment” to be “centered around innovation in architecture and design.”
The six shortlisted schemes include twisting towers, interlocking blocks, and stacked neighborhoods, all focusing on the 6,000-square-meter BMW Southbank site. The designs were revealed at a public symposium on July 27th featuring speakers from the shortlisted firms.
Architecture is energy. Lines drawn on paper to represent architectural intentions also imply decades and sometimes centuries of associated energy and material flows. “Form Follows Energy” is about the relationship between energy and the form of our built environment. It examines the optimisation of energy flows in building and urban design and the implications for form and configuration. It speaks to both architectural and engineering audiences and offers for the first time a truly interdisciplinary overview on the subject, explaining the complex relationships between energy and architecture in an easy to follow manner and using simple diagrams to show how
The shortlist for a new landmark project in Melbourne has been announced, comprising award-winning global architects such as Bjarke Ingels Group, MVRDV, and OMA. For the “Southbank by Beulah” mixed-use development, the shortlisted architects will engage in a design competition working in collaboration with local Australian firms, each producing a design proposal for Melbourne’s BMW Southbank site.
With an end value in excess of $2 billion, Southbank by Beulah will be the first large-scale private project adhering to the Australian Institute of Architecture guidelines, while the design competition will be chaired by a jury of seven regarded individuals from academic, architectural, property and government sectors.
When Philip Johnson curated the Museum of Modern Arts’ (MoMA) 1932 “International Exhibition of Modern Architecture,” he did so with the explicit intention of defining the International Style. As a guest curator at the same institution in 1988 alongside Mark Wigley (now Dean Emeritus of the Columbia GSAPP), Johnson took the opposite approach: rather than present architecture derived from a rigidly uniform set of design principles, he gathered a collection of work by architects whose similar (but not identical) approaches had yielded similar results. The designers he selected—Peter Eisenman, Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi, and the firm Coop Himmelblau (led by Wolf Prix)—would prove to be some of the most influential architects of the late 20th Century to the present day.[1,2]
“Re-Constructivist Architecture,” an exhibition now on show at the Ierimonti Gallery in New York, features the work of thirteen emerging architecture firms alongside the work of Coop Himmelb(l)au, Peter Eisenman and Bernard Tschumi. The title of the exhibition is a play on words, referring to the De-Constructivist exhibition of 1988 at the Museum of Modern Art that destabilized a certain kind of relationship with design theory.
This reconstruction is primarily of language. The architects draw from archives—mental, digital or printed on paper—distant from the typical parametric and highly schematic rationales that characterized the last thirty years of design in architecture. Within the theoretical system that drives architectural composition, these archives inevitably become homages, references, and quotes.
This article was originally published on Autodesk's Redshift publication as "Wolf Prix on Robotic Construction and the Safe Side of Adventurous Architecture."
In response to a conservative and sometimes fragmented building industry, some architects believe that improving and automating the construction process calls for a two-front war: first, using experimental materials and components, and second, assembling them in experimental ways. Extra-innovative examples include self-directed insect-like robots that huddle together to form the shape of a building and materials that snap into place in response to temperature or kinetic energy.
The automation battle has already been fought (and won) in other industries. With whirring gears and hissing pneumatics, rows and rows of Ford-ist mechanical robot arms make cars, aircraft, and submarines in a cascade of soldering sparks. So why shouldn’t robotic construction become commonplace for buildings, too?
"If you only think in architectural terms, only architecture will come out." - Wolf Prix
Inspired by space suits, Formula One circuits, and many other "mind expanding machines," Wolf D. Prix of Coop Himmelb(l)au explains the thought process that went behind their design of the Musée des Confluences in Lyon, France. With spiraling ramps and bridges throughout, the museum allows visitors to explore the space "freely," despite the constraints of gravity, and, in a sense, "conquer space." Read on for Spirit of Space's full interview with Prix.
In It’s A Wonderful Life the film’s protagonist George Bailey, facing a crisis of faith, is visited by his guardian angel, and shown an alternate reality where he doesn’t exist. The experience gives meaning to George’s life, showing him his own importance to others. With the increasing scale of design competitions these days, architectural “could-have-beens” are piling up in record numbers, and just as George Bailey's sense of self was restored by seeing his alternate reality, hypothesizing about alternative outcomes in architecture is a chance to reflect on our current architectural moment.
Today marks the one-year-anniversary of the opening of Phase 3 of the High Line. While New Yorkers and urbanists the world over have lauded the success of this industrial-utility-turned-urban-oasis, the park and the slew of other urban improvements it has inspired almost happened very differently. Although we have come to know and love the High Line of Diller Scofidio + Renfro and James Corner Field Operations, in the original ideas competition four finalists were chosen and the alternatives show stark contrasts in how things might have shaped up.
On this key date for one of the most crucial designs of this generation, we decided to look back at some of the most important competitions of the last century to see how things might have been different.
One of the best acoustically responsive concert halls in the world, Coop Himmelb(l)au's House of Music in Aalborg has been a lively center for music and creative exchange since its opening in 2014. Based off of the simple, yet powerful courtyard typology and inspired by Le Corbusier’s La Tourette, the 1,300-seat concert hall is embraced by a U-shaped education center and enhanced by a careful overlapping of public and performance areas. This has allowed the building to live up to its name, becoming an animated House of Music where music is not only heard, but seen.