History: The Latest Architecture and News

Officials have just confirmed that Antonio Gaudi’s iconic Sagrada Família's final stage of construction has commenced, on track to be completed in 2026, 144 years after its establishment. The announcement was made last Wednesday, aligning with the centenary of the architect’s passing. According to the annual report, construction efforts have resumed, finalizing the Evangelists towers in November 2023. Additionally, active construction is ongoing for the Chapel of the Assumption and the tower dedicated to Jesus Christ, which are on track to be completed in 2025 and 2026, respectively. The towering 172.5-meter central spire is included in the project, planned to stand as the tallest edifice in Barcelona, Spain.

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RSHP has unveiled the urban and architectural design for the new Bayeux Tapestry Museum. The intervention is created to house and display the Bayeux Tapestry, an embroidered cloth measuring 70 meters in length and depicting the events leading up to the Norman Conquest of England in 1066 and culminating in the Battle of Hastings. The almost 1000 years-old artifact is also included in UNESCO’s “Memory of the World” list. The project proposes a contemporary extension of the 17th-century seminary where the Musée de la Tapisserie de Bayeux is located.

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The world of architecture is a captivating fusion of artistic expression and scientific precision. My journey in the realm of architecture started with a profound exploration of its rich history. It was the awe-inspiring works of Renaissance masters that propelled me onto a transformative trajectory, guiding me toward harnessing the immense potential of artificial intelligence and algorithms in architectural design.

Designed by MAD Architects, the FENIX Museum of Migration is set to be inaugurated in 2025 in Rotterdam’s City Harbor. The purpose of the institution is to showcase and highlight the stories of global migration through encounters with art, architecture, photography, and history. The museum broke ground in 2020 when the first images of the proposal were also released. MAD Architects is working with Bureau Polderman for the restoration of the historic warehouse dating back to 1932, which now represents the base and starting point for the museum experience.

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This article was originally published on Common Edge.

Since the advent of Modernism, architects have become schizophrenic in dealing with the reality of time. This is a problem, because time and gravity are two universal forces. Architects are exquisitely good at dealing with gravity—it is present in everything we design. We study it and engineer its unrelenting requirements. Gravity does a symbiotic dance with structure. No matter how a design feigns weightlessness, its mass cannot be denied. Architects must deal with gravity, whether it’s Frank Lloyd Wright’s sagging balconies at Fallingwater or today’s steroidally enhanced parametric buildings.

Highways, in their inanimate state, cannot be racist. However, the forces that located them and the consequences of their placement are inextricably connected to race. Deborah Archer, a law professor and civil rights lawyer, captures the central concept: “Highways were built through and around Black communities to entrench racial inequality and protect white spaces and privilege.”

In the new book, Justice and the Interstates: The Racist Truth About Urban Highways, editors Ryan Reft, Amanda Phillips du Lucas, and Rebecca Retzlaff explore racial injustice and the interstate highway system. They collect essays that address the dislocation caused by interstates. The book came out of a series of articles in Metropole, a publication of the Urban History Association.

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In an age where humanity's detrimental impact on the environment has become increasingly evident, the concept of rewilding is emerging as a powerful approach to conservation and ecological restoration. In line with growing attention on landscape architecture in recent years, the idea of removing human intervention from our natural surroundings in order to restore a stable equilibrium seems to offer a low-effort, ethereal way to right fundamental climate wrongs. But is a lack of meddling in nature really all there is to rewilding, and how does this relate to architecture and design? We look at key concepts, applications, and examples to find out.

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For many years, often spoken in tones of anticipation and excitement, we have heard that 3D printing will revolutionize the architecture industry as we know it. But if we stop for a moment, reflect on the present and look back at the past, it becomes evident that the technology has long been reshaping the field, continuously undergoing profound transformations and ushering in new eras of design, construction and spatial creativity. Operating as a layer-by-layer additive manufacturing process, 3D printing uses digital models to create customized three-dimensional objects with a remarkable level of precision and efficiency, saving time, generating zero waste, reducing labor costs and opening avenues for rapid prototyping and iterative design. It enables architects to explore creative opportunities and regain autonomy by designing complex, non-standardized elements within an industrial and mass-customized process.

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Ornament and Its Discontents

Disguise, makeup. Expression of the subjectivity of a group, language, or sign. Historical document, emblem of fleeting fashions. A crime. Ornaments have been interpreted in different ways and are considered one of the most degenerate sins of architecture. Resisting the temptation of decoration has become a virtue, a legitimate sign of authenticity and a possible future.

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The Copacabana calçada (Copacabana sidewalk) is one of the greatest symbols in the stunning landscape of Rio de Janeiro. What not everyone knows is that its history (and design) precedes the intervention of Roberto Burle Marx in the 1970s. The origin of the design, as well as its stones, is Portuguese.

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Commerce is a human activity practiced by societies since the beginning of evolution. Exchanges were made between products negotiated by entire communities at first. They began to be based on a common currency and practiced individually over time, from family to family. In one way or another, this activity is a characteristic of civilization and even influences our territorial organization. Historically practiced in outdoor spaces, commercial activity defined many spatial configurations.

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This article was originally published on Common Edge.

Today we know R. Buckminster Fuller primarily through his oeuvre of iconic objects and ideas created over the arc of a nearly 90-year life. Born in the last decade of the 19th century, Fuller lived long enough to hang out with Steve Jobs. He’s variously described as a “systems thinker,” perhaps the first “futurist,” a visionary, engineer, geometer, and architect (he won the AIA Gold Medal in 1970). But “inventor” is probably the most accurate description. Historian and writer Alec Nevala-Lee’s 2022 biography, aptly titled Inventor of the Future: The Visionary Life of Buckminster Fuller (Dey St. Books), tells a nuanced story of the man known for geodesic domes; space frames; “Spaceship Earth”; the Dymaxion map, house, and car; and concepts such as tensegrity, synergy, and “ephemeralization” (“doing everything with nothing at all,” as he described it).