Setting the stage for Rotterdam Architecture Month this upcoming June, MVRDV have designed a temporary rooftop platform on the Het Nieuwe Instituut in Rotterdam. The 600-square-meter event space titled The Podium will be elevated 29 meters and covered with a striking pink color, making it visible to all pedestrians on ground level. The installation will open to the public on June 1st, coinciding with the inauguration of the Rotterdam Architecture Month Festival, and will continue to be used for events until August 17th.
Het Nieuwe Instituut: The Latest Architecture and News
Hosted at the top floor of Het Nieuwe Instituut in Rotterdam, the Netherlands, the “MVRDVHNI: The Living Archive” exhibition showcases 30 years of MVRDV’s work, looking into the design philosophy of each project and future visions. The exhibition, which sits right next to the firm's latest project, the Depot Boijmans Van Beuningen, highlights the creative process behind each project, how they were developed, and the challenges of preserving their materials and approaches for future generations.
Titled "Who is We", the Pavilion of the Netherlands at the 17th International Architecture Exhibition – La Biennale di Venezia deconstructs normal concepts of space, visualizing what is often overlooked behind the structures that typically define urban spaces. Curated by a team led by Francien van Westrenen, the pavilion will be on display from 22 May to 21 November 2021.
Het Nieuwe Instituut (HNI) have announced WORK, BODY, LEISURE as the theme of the Dutch Pavilion at the 2018 Venice Architecture Biennale. Envisioned as "a collaborative research endeavor by a national and international network," Marina Otero Verzier—head of the Research Department at HNI and a member of the After Belonging Agency, curatorial team behind the 2016 Oslo Architecture Triennale—will act as the creative mediator of a series of collaborative contributions, pooling the expertise of "architects, designers, knowledge institutions, and the private sector."
Machines have long been integral to architectural discourse. Vitruvius concluded his ten books with a meditation on war machines, and Le Corbusier published on his industrial muses just over 100 years ago. Yet something is different today. We have always learned from machines—our societies are fundamentally shaped by their processes—but now, machines learn. We live in paradoxical times. Machinic processes, computational algorithms and artificial intelligence have never been so proximate, direct, and intimate to daily life, yet we are many steps removed from their practical operations.
This issue of Volume, the third in our Learning series, seeks to take one small step in the direction towards understanding the contemporary relevance of machines for architecture, and one giant leap for mankind. Volume #49: Hello World! also includes In Loving Support, a 32-page insert produced with Het Nieuwe Instituut on living and working with algorithms.
Can architects have a truly active role in pressing social problems? Malkit Shoshan, the curator of the Dutch Pavilion at the 2016 Venice Biennale, thinks so. Her career is evidence of this: advocating for the incorporation of a fourth 'D' in the criteria of the UN (Defence, Diplomacy and Development) in its peacekeeping missions around the world, Shoshan has sat at the same table as military engineers and policy makers to analyze the urban impact peacekeepers have left around the world.
For the Dutch Pavilion, Shoshan has focused on the case of the joint mission of the Netherlands and the UN in Gao (Mali). In 2012, Gao was declared capital of the Independent State of Azawad, a nation not recognized by the international authorities, following Mali's Tuareg rebellion. "Although [these peacekeeping missions] occupy large plots of land in hundreds of different cities around the world, it is rarely discussed or addressed by our profession," says Soshan in the following interview.
We spoke with the curator of the Dutch pavilion after her recent visit to Mali to discuss the principles of the Netherlands in the next Venice Biennale; the impact of military drones in public spaces and why, according Shoshan, there is a close relationship between architecture, public policy and ideology. "[With design,] we can make resources available to communities that are exhausted by militarized conflicts, long periods of drought, famine and disease," she says.
Het Nieuwe Instituut, the Dutch institute for architecture, design, and digital culture in Rotterdam, have announced an open call for three research fellows to work in residence between June and December 2016. Alongside the institute’s exhibitions, lectures, publications, and archives, the Fellowship program will explore and challenge how research is conducted within an institutional context, pursuing alternatives to the expectation of predetermined outcomes, the use of official jargon, and the inertia power of the curriculum vitae. In the long term, the program is also intended to complement, reflect on, interact with, and critique the ongoing activities of the institute.
Malkit Shoshan, shortlisted earlier this year for the Harvard GSD Wheelwright Prize, has been selected by Het Nieuwe Instituut to curate the Dutch Pavilion at the 2016 Venice Biennale. Founder of the Amsterdam-based architectural think tank FAST (Foundation for Achieving Seamless Territory), Shoshan has been fellow of the Institute for the past two years having previously authored the award-winning book Atlas of Conflict: Israel-Palestine (2010). Her current work, entitled Drones and Honeycombs, is a study of the architecture and landscape of war and peace and examines "public space as war zone." It is this research, under the title 'Blue', which will be presented as a new series of narratives for architecture in conflict areas.
The Jaap Bakema Study Centre's second annual conference, entitled Research on Display: The Architecture Exhibition as Model for Knowledge Production, will begin next month in Delft and Rotterdam (The Netherlands). Featuring presentations and discussions from members of universities around the world—including Ghent, Valencia, London, Warsaw, Paris, Michigan, Yale, Oslo and Zürich—the two-day programme seeks to examine what it means to curate architectural research.
Rotterdam-based practice MVRDV have begun a transfer of their early work, spanning fifteen years from 1993 to 2008, to Het Nieuwe Instituut — the central architecture archive of The Netherlands. This collection, which will eventually be made available to the public, will be in the institute's first primarily digital donation (approximately eight terabytes of data) and consisting of material from 400 of the practice's 680 total projects, including the Villa VPRO, the Silodam in Amsterdam, and the Markthal Rotterdam, as well as unrealised projects such as Meta City Datatown, Pig City, and 3D City Cube.
Now at the halfway point of the six month long World Expo in Milan, in which 145 countries are participating in a concentration of national spectacle surrounding the theme of "feeding the planet," Rotterdam's Nieuwe Instituut (HNI)—the centre for architecture in the Netherlands—is exhibiting an altogether more reflective display of national civic pride.
Rotterdam, which was blitzed and decimated during the Second World War, is a place well suited to host an exhibition whose underlying theme centres on the fragile, often precarious notion of national self-image. Following the war Rotterdam was forced to rebuild itself, carving out a new place on the world stage and reestablishing its importance as an international port. Now, seventy years later, Rotterdam is a very different place. In demonstrating just how delicate the construction of a tangible national identity can be this latest exhibition at the HNI offers up a sincere speculative base for self-reflection.
The Netherlands Builds in Brick is one of the latest exhibitions at Het Nieuwe Instituut (formerly the NAi) in Rotterdam. It seeks to modify the "assumed triumph of Modernism" in the interwar period, drawing upon two photographic collections from the Institute's extensive archives. The exhibition has been curated to highlight that brick remained the favoured construction material throughout the advocacy of the Modernist movement, even for experimental construction.
Great movements in architecture are usually set in motion by a dull societal ache or as a response to a sudden, unforeseen reorientation of a community at large. The Dutch city of Rotterdam - vast swathes of which were cast into oblivion during the blitz of May 1940 - has been at the forefront of many shifts in approach to the built environment. It is therefore fitting that the latest exhibition at the Nieuwe Instituut (formerly the NAi), simply titled Structuralism, is being held in the city that was recently named Europe’s best.
Furthermore, Dutch Structuralism is a timely subject for Dirk van den Heuvel and the Jaap Bakema Study Centre (JBSC) in Delft to tackle. With major civic buildings like OMA's extension to Rotterdam's City Hall taking shape, it appears that a resurgence of Structuralist formal thought is appearing in the contemporary city. The exhibition seeks to shine a new light on the movement by uncovering drawings, models and texts which profoundly shaped 20th century architectural thinking.
Windowless, sparse, and connected to nature — this is how architecture and urban design firm SeARCH envisions the home of the future. In their new project "Yourtopia," they challenge stereotypical ideas about what a home should be and demonstrate an awareness about our relationship with our environment. This article originally published on Metropolis Magazine investigates the home's minimal design and construction process.
Our homes shield us from distractions so that we may cultivate our own interests and, in the process, sense of selves. Dutch architecture firm SeARCH has taken this idea to the extreme with “Yourtopia”, a temporary refuge that radically reconsiders what a home can be.
More on Yourtopia's radical living environment after the break
"We consider Bakema not so much an architect of buildings, but an architect of a new idea of what Holland could be--a new national identity, a new national landscape…with an architect in the center of this particular ambition." - Guus Beumer, co-curator of the Dutch Pavilion at the 14th Venice Biennale
Guus Beumer and Drik van den Heuvel, curators of "Open: A Bakema Celebration," sat down to speak with us about this year's Dutch Pavilion at the Venice Biennale. With the help of graphic designers Experimental Jetset, Beumer and van den Heuvel created an emblematic, stripped-down, research-focused display of a particularly Dutch idea: the "Open Society." This was all conveyed within and around a 1:1 model of architect Jaap Bakema's Lijnbaan Shopping Centre (Rotterdam 1954), constructed within the Netherlands Pavilion.
The hope, as Dirk van den Heuvel explains, is that "the elements of Bakema...may be useful, inspiring for our own practices today. Elements that he developed in questions to housing, planning, modernizing… I think when you come here you will recognize that there's lots of affinities, interesting things that we still work with and that we will work with in the future."
After you watch the video, make sure to read the curator's statement, and see images of the pavilion, after the break.
In our technology-obsessed age we tend to forget where materials actually come from. But in their first exhibition on materials, WOOD, the Het Nieuwe Instituut in Rotterdam not only overviews wood's uses from World War I trenches to daily tools, but also reminds us where wood comes from, tracking wood's manmade and natural "cycles" of destruction and reconstruction. WOOD is curated by Dan Handel, in cooperation with exhibition designers Jannetje in ‘t Veld and Toon Koehorst and is showing until October 8th of this year - learn more at the website here.
A few hours ago in Venice, Rem Koolhaas presented his curatorial vision for "Fundamentals" in a live-streamed opening press conference. As we reported last year, "Fundamentals" will focus on architecture rather than architects and history rather than contemporaneity. Koolhaas will not just curate an exhibition of his own, but will be coordinating the "collective effort of all national pavilions."
This year's exhibition features the participation of 65 countries--including 11 first-time participants (Azerbaijan, Côte d'Ivoire, Costa Rica, Dominican Republic, United Arab Emirates, Indonesia, Kenya, Morocco, Mozambique, New Zealand and Turkey). See the complete list of national participants--which includes collaborations with Jacques Tati, Hans Ulrich Obrist, FAT, Iñaki Ábalos and others--after the break.
Click here to see all of ArchDaily's previous coverage of the 2014 Venice Biennale. And stay tuned... we'll be bringing you on-the-ground reports from Venice when the Biennale launches in the first week of June!