According to architect and academic Frank Locker, in architectural education, we keep repeating the same formula from the 20th-century: teachers transmitting a rigid and basic knowledge that gives students, no matter their motivation, interests, or abilities, little to no direction. In this way, says Locker, we are replicating, literally, prisons, with no room for an integral, flexible, and versatile education.
"What do you think of when you're in a space with closed doors and a hallway where you can't enter without permission or a bell that tells you when you can enter and leave?" asks Locker.
There are at least as many definitions of architecture as there are architects or people who comment on the practice of it. While some embrace it as art, others defend architecture’s seminal social responsibility as its most definitive attribute. To begin a sentence with “Architecture is” is a bold step into treacherous territory. And yet, many of us have uttered — or at least thought— “Architecture is…” while we’ve toiled away on an important project, or reflected on why we’ve chosen this professional path.
Most days, architecture is a tough practice; on others, it is wonderfully satisfying. Perhaps, though, most importantly, architecture is accommodating and inherently open to possibility.
This collection of statements illustrates the changing breadth of architecture’s significance; we may define it differently when talking among peers, or adjust our statements for outsiders.
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]
GSAPP Conversationsis a podcast series designed to offer a window onto the expanding field of contemporary architectural practice. Each episode pivots around discussions on current projects, research, and obsessions of a diverse group of invited guests at Columbia, from both emerging and well-established practices. Usually hosted by the Dean of the GSAPP, Amale Andraos, the conversations also feature the school’s influential faculty and alumni and give students the opportunity to engage architects on issues of concern to the next generation.
https://www.archdaily.com/806013/introducing-columbia-gsapp-conversations-inaugural-architecture-podcast-exhibition-models-james-taylor-fosterAD Editorial Team
With Are We Human—the exhibition of the 3rd Istanbul Design Biennial, which ran for one month at the end of 2016—curators Beatriz Colomina and Mark Wigley were researching the fundamental notion of ‘design’. Their historic, cultural and conceptual exploration attempted to unravel the various programs and ambitions behind a (mainly) market driven inventiveness, which is presented as progress. This pushed the notion of design and the biennale as a format beyond their established definitions.
In this editorial from VOLUME's milestone 50th issue, Arjen Oosterman—the magazine's Editor-in-Chief—reflects on over ten years of cultural production and discourse and outlines what is to come. ArchDaily will be sharing a selection of the articles from this issue over the coming weeks.
Moving forward implies looking back. When we started this research engine called VOLUME in 2005, economic, political, and social conditions were very different to how they are today. The intention to rethink the agency of ‘beyond’ as driver for change inevitably means historicizing the trajectory of the VOLUME project so far. That said, we really didn’t want to turn VOLUME itself into the subject of reflection. So we’ll instead talk about the present and, in so doing, find history creeping its way in whether we like it or not.
Presenting more than 70 projects from five continents by designers, architects, artists, theorists, choreographers, filmmakers, historians, archaeologists, scientists, laboratories, institutes and NGOs, the exhibitions will be spatialized by Andrés Jaque and the Office for Political Innovation and spread across five main venues – the Galata Greek Primary School, Studio-X Istanbul and Depo in Karaköy, Alt Art Space in Bomonti, and the Istanbul Archaeological Museums in Sultanahmet. The work of a dense array of international writers, video makers, and designer researchers will also be presented online.
https://www.archdaily.com/796581/participants-projects-2016-3rd-istanbul-design-biennial-are-we-human-revealedAD Editorial Team
The 3rd Istanbul Design Biennial, which will officially open on the 22nd October 2016 and last for four weeks, will ask the question: Are We Human? Encompassing a wide range of ideas related to The Design of the Species, from timeframes of 2 Seconds to 2 Days, 2 Years, 200 Years and 200,000 Years, the international show will revolve around one pressing provocation: that design itself needs to be redesigned. It will do so by exploring the intimate relationship between the concepts of "design" and "humanity."
Five primary venues—the Galata Greek Primary School, Studio-X Istanbul and Depo in Karaköy, Alt in Bomonti, and the Istanbul Archaeological Museums in Sultanahmet—will house more than 70 projects by designers, architects, artists, historians, archaeologists and scientists from thirteen countries. In order to "rethink design from the very beginning of humanity," the Biennial will be organised into four overlapping “clouds” of projects: Designing the Body, Designing the Planet, Designing Life, and Designing Time.
Volume is an "agenda-setting" quarterly magazine, published by the Archis Foundation (The Netherlands). Founded in 2005 as a research mechanism by Ole Bouman (Archis), Rem Koolhaas (OMA*AMO), and Mark Wigley (Columbia University Laboratory for Architecture/C-Lab), the project "reaches out for global views on designing environments, advocates broader attitudes to social structures, and reclaims the cultural and political significance of architecture."
Over the next six weeks Volume will share a curated selection of essays from The System* on ArchDaily. This represents the start of a new partnership between two platforms with global agendas: in the case of ArchDaily to provide inspiration, knowledge and tools to architects across the world and, in the case of Volume, "to voice architecture any way, anywhere, anytime [by] represent[ing] the expansion of architectural territories and the new mandate for design."
https://www.archdaily.com/784350/introducing-volume-number-47-the-system-starAD Editorial Team
"Design always presents itself as serving the human," state Beatriz Colomina and Mark Wigley, "but its real ambition is to redesign the human." Their curatorial statement for the 3rd Istanbul Design Biennial, which will open later this year and is themed around the title Are We Human? The Design of the Species: 2 Seconds, 2 Days, 2 Years, 200 Years, 200,000 Years, brims with reflective and often prescient statements such as this. All that will be encompassed by this Biennial, they say, will revolve around one pressing provocation: that design itself needs to be redesigned.
If one thing is certain, this Biennial will not come off as a 'trade show'. Wigley (New Zealand) and Colomina (Spain)—both Professors of Architecture at US institutions (Columbia and Princeton, respectively), theorists, writers, and critics—have exerted a profound influence on architectural discourse and pedagogy over the course of their careers. This Biennial, on the other hand, serves as their first formal foray into the world of 'design' – a field which few architects actively engage with.
At a media meeting this morning at the Istanbul Archaeological Museums Library, the curators of the 3rd Istanbul Design Biennial Beatriz Colomina and Mark Wigley announced the theme of next year's event, titled “ARE WE HUMAN?: The Design of the Species: 2 seconds, 2 days, 2 years, 200 years, 200,000 years.” The event, which will be held from October 22nd to December 4th next year, is intended to combine elements of both media documentary and archaeological project and according to the curators "will explore the intimate relationship between the concepts of 'design' and 'human.'"
Moreau Kusunoki, based in Paris, have been announced as the winners of the Guggenheim Helsinki competition following a year of shortlisting, refining and deliberation. Their proposal—entitled Art in the City—"sums up the qualities the jury admired in the design" noted Mark Wigley, chair of the jury. He continued: "the waterfront, park, and nearby urban area all have a dialogue with the loose cluster of pavilions, with people and activities flowing between them. The design is imbued with a sense of community and animation that matches the ambitions of the brief to honor both the people of Finland and the creation of a more responsive museum of the future."
The announcement was made this morning in Helsinki by Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation. Also present was Professor Mark Wigley, chair of the jury and Dean Emeritus of Columbia GSAPP, Jussi Pajunen, Mayor of Helsinki, Ari Lahti, chairman of the Guggenheim Helsinki Supporting Foundation, and the architect team.
The Istanbul Foundation for Culture and Arts have announced that internationally renowned architectural historian and theorist Beatriz Colomina and architectural historian, theorist, and critic Mark Wigley will curate the 3rd Istanbul Design Biennial to be held in the summer of 2016. Colomina, a Professor of Architecture at Princeton University and curator of the recent Radical Pedagogies: Architectural Education in a Time of Disciplinary Instability exhibition (Lisbon Triennale, 2013; Venice Biennale 2014) will join Wigley, Professor and Dean Emeritus of Columbia University's GSAPP and renowned writer and curator, in helping to cement the biennial's international reputation.