Architectural styles have fallen out of favor throughout history. Generally, the peak of one movement means the decline of another. Over time, the situation may reverse, as in the case of postmodernism, which has divided opinions since its emergence, but experienced a revival in the first decades of the 2000s (or maybe not). Temporal distance contributes to the revision of certain styles' relevance and evaluation of their qualities - or problems.
I always consider myself fortunate to have grown up outside the city, where my ‘cross-country’ lessons, for example –national right of hardship for 11-16-year-olds– were through the actual countryside rather than the high street. For many children, however, modern school life is not so close to nature.
Already over-populated cities are continuing to expand, meaning more schools are suffering from the limitations presented by inner-city architecture including noise, air, and light pollution; a lack of space, especially green space; restrictive budgets and building regulations resistant to change.
With innovative and considered design solutions, however, these four inner-city schools show the rest of the class how to work through their architectural answers and provide quality, green spaces for all.
The city of Paris has officially reinstated a rule that limits the height of new buildings in the French capital to 37 meters, or 12 storeys. Among the factors for the decision was the controversy surrounding the construction of the 180-meter-tall Tour Triangle, designed by Herzog & de Meuron, which began in 2021 after more than a decade of legal battles and backlash. The new urban planning regulation is introduced as part of Mayor Anne Hidalgo's Local Bioclimatic Urban Plan, which aims to reduce Paris' carbon emissions.
Brutalist Paris by Nigel Green and Robin Wilson is a book that expands upon their previous collaborative effort, the Brutalist Paris Map (2017). The text's insightful critique and sharp photography provide a detailed examination of Brutalism's historical, political, and cultural significance, with a particular emphasis on its innovative communal design. Through a meticulous analysis of the public spaces of the selected buildings, including their orientation, materials, and facades, Green and Wilson revisit the movement's legacy and its contribution to the field of architecture.
The Centre Pompidou is an arts and culture institution that has been present in Paris since the late 1970s. It houses the Public Information Library, the largest museum for modern art in Europe, and a center for musical research. This month, the institution signed a partnership agreement to create a museum of contemporary art in Saudi Arabia with the Royal Commission of AlUla (RCU). Additionally, the establishment signed a similar partnership agreement to develop a modern and contemporary museum in Seoul, South Korea, with the Hanwha Culture Foundation.
The simple activity of taking a walk in the evening can easily turn from a relaxing leisurely activity to a dangerous endeavor by removing just one element from the streetscape: public lighting. While not often recognized as defining aspect of urban environments, artificial illumination has played an essential role in defining the character of modern cities. Crime control, the appeal of nightlife, the rise of the shop window, revolutionary movements, utopias, and ideals of social equity are all concepts whose development is tightly linked to the history of public lighting. Technological advancements over the past centuries have continuously shaped the appearance and symbolism of streetlamps. Still, the this element has remains a constant throughout its history.
When transparent facade elements deliberately evolve from the course of the sun, we can explore a fascinating slow movement in stark contrast to the hectic urban street life on the ground. Especially the French designer Pierre Brault has responded to the accelerated rhythm of our society with facade installations that combine the principle of the sundial with colorful pop design. His three-dimensional works made of recycled colored plexiglass mesmerize through simple but dramatic movements of colored shadows. In the interview, Brault explains his inspiration, the experimental approach and his interest in working responsibly with material.
In May this year, The Centre Pompidou in Paris will debut the largest retrospective of Norman Foster's work from the past six decades. The exhibition spans nearly 2,200 square meters, exploring the various phases of the renowned architect’s career. Essential works including the Hong Kong and Shanghai Baking Corporation's headquarters (Hong Kong, 1979–1986), the Carré d'Art (Nîmes, 1984–1993), the Hong Kong International Airport (1992–1998), and the Apple Park (Cupertino, United States, 2009-2017) will be on display.
Foster + Partners, the Norman Foster Foundation, and Norman Foster are working to develop and execute the full retrospective. Through the lenses of the seven chosen themes: Nature and Urbanity, Skin and Bones, Vertical City, History and Tradition, Planning and Location, Networks and Mobility, and Future, the exhibition is set to become a full compilation of the architect’s work.
