The Architectural League of New York has announced the winners of the 2020 Architectural League Prize for Young Architects + Designers. Focusing on fresh talent, North America’s most prestigious award encourages the development of distinctive individuals and underlines their work.
The Rastegar Property Company has announced plans to develop the tallest living wall in North America as part of a 26-story tower in Dallas. The building aims to improve local air quality with over 40,000 plants estimated to capture over 1,600 pounds of carbon dioxide and produce 1,200 pounds of oxygen annually. The development will be located across the street from the Union mixed-use complex.
Following the devastating earthquake measuring 7.1 in magnitude that struck Mexico yesterday at 13:14 local time, many—over 200 people at the time of writing—are feared either dead or trapped in collapsed buildings or unsafe structures. While rescue efforts continue and information surrounding the scope of devastation is preliminary, schools are closed indefinitely and major companies and organizations have requested their employees not to work.
The death toll continues to rise while ArchDaily México, which is located in Mexico City, reports wide-reaching destruction of the built fabric of the capital. Footage captured by terrified residents show the final moments of buildings—many taller than four stories—that were reduced to dust and debris in seconds.
With a combination of resilience, sustainability, and pleasing aesthetics, the use of copper in architectural design is often indicative of a building’s craft and attention to detail, as demonstrated by fifteen projects selected as recipients for the 2017 North American Copper in Architecture Awards (NACIA). The 10th edition of the annual awards celebrates a variety of projects throughout North America for their “outstanding use of architectural copper and copper alloys.” Projects were selected across three categories: New Construction, Renovation/Restoration, and Ornamental Applications.
Here are this year’s fifteen NACIA winners:
It's difficult to imagine an uncharted world. Today, GPS and satellite maps guide us around cities both familiar and new, while scanning and mapping techniques are gradually drawing the last air of mystery away our planet's remaining unexplored territories. At one time, however, cartography was based on little more than anecdotal evidence and a series of educated guesses. But map-making in the 16th and 17th Centuries was an art nonetheless, even if these examples testify to the fact that just because you're missing important facts, total fabrication may not be the best way forward.
The first ever Chicago Architecture Biennial closed January 3, with over half a million visitors having attended the event. An architecture exhibition of unprecedented size on the continent, the Biennial gathered 93 projects from 120 offices from over 30 countries to discuss the “State of the Art of Architecture.” We take a look at some of the Biennial's highlights after the break.
The Copper Development Association (CDA) has announced its selections for the 2015 North American Copper in Architecture Awards (NACIA), now in their eighth year. The awards celebrate stellar projects that incorporate copper in their designs. The 12 award-winning works span three categories and include educational, residential and healthcare buildings in addition to historic landmarks.
Winners were selected by a panel of industry professionals based on their overall design, incorporation and treatment of copper, and distinction in either innovation or historic restoration.
Lateral Office's Arctic Adaptations exhibition, which was recognised with a Special Mention at the 2014 Venice Biennale, will travel make its debut in Canada at the Winnipeg Art Gallery this week before heading to Whitehouse, Vancouver, and Calgary. The exhibition "surveys a century of Arctic architecture, an urbanising present, and a projective near future of adaptive architecture in Nunavut" though interactive models, photography, and topographical maps of the twenty five communities of the area, as well as Inuit carvers’ scale models of some of the most recognised buildings in the territory. In addition, it proposes a future of adaptive and responsive architecture for Canada's northern territories.
In an article for The Walrus, Adele Weder examines Antoine Predock's (who was recently made a National Academy Academician) Canadian Museum for Human Rights: a "colossal, twelve-storey mountain of concrete and stone, 120,000 square feet of tempered glass, and 260,000 square feet of floor space." Early advocates of the museum "felt that Winnipeg was ripe for such a statement piece," just as Bilbao had been for the Guggenheim. Welder's explorations are clear and concise, finding all sorts "of paradoxes swirling around the Museum for Human Rights." Noting that "it’s definitely a kick-ass building, with its aggressive outer form, jagged paths inside, big black slabs of basalt, thick sheets of glass, and the huge metal girders that hold it all together," Weder argues that it's position as a "failed memorial and white elephant" may be it's eventual undoing.
What do you think the North American, Asian and Western European tall building communities most need to learn from each other? This is precisely what the Center on Tall Buildings and Urban Habitat (CTBUH) sat down to ask five leading architects, whose responses formed an eclectic and meaningful overview on the state of tall building worldwide. As Rem Koolhaas noted, each region has their own journey that is worth understanding, such as the Arab world’s transition from “extravagance to rationality” or Asia’s hyper-focus on project realization. But, as James Goettsch points out, “not every building has to be something remarkable." It’s alright for some buildings to be nothing more than “good citizens.”
