The MPavilion represents one of the most important architectural events happening annually in Melbourne, Australia. Initiated and founded by the Naomi Milgrom Foundation, the event was first launched in 2014 and has since brought internationally recognized architects to design a temporary structure in Melbourne's Queen Victoria Gardens in a system similar to London’s Serpentine Gallery Pavilion. From Sean Godsell's solar-actioned panels to Studio Mumbai‘s experimental bamboo structure, each pavilion explores craftsmanship and contemporary design while fostering a rich cultural program for several months before being disassembled and donated to one of the city’s parks. As the latest pavilion was recently inaugurated by Tadao Ando, we look back at the previous editions of Australia’s most famous annual structure.
Often referred to as the “Manhattan on the Maas,” Rotterdam is a city unlike any other in the Netherlands. The Dutch metropolis with its striking skyline, tells a unique architectural narrative with chapters filled with the rubble of the devastating bombings of World War II, followed by a story of reconstruction that transformed the city into a hub for experimental architecture and urban planning. Today a mosaic of architectural styles, Rotterdam has embraced innovation, becoming a global showcase for cutting-edge design and sustainable urban development.
In 1940, almost the entire city center was wiped out by German bombs. Instead of following other European cities’ examples of reconstruction, Rotterdam decided to reinvent itself. Today, the city hosts some of the most well-known Dutch pieces of architecture, such as the Kubuswoningen or the Het Nieuwe Instituut. Its open attitude toward innovation and experimentation continues to attract talent from around the world, as its distinctive skyline continues to change and adapt to contemporary conditions.
Exhibition Hall of the Union of Artists, Tashkent, Uzbekistan, 2022. Image Courtesy of Armin Linke
Tashkent, the capital city of Uzbekistan, stands as one of the most populous cities in Central Asia. Situated in the northeastern part of the country, near the border with Kazakhstan, Tashkent has been profoundly shaped and influenced by diverse cultures throughout its history. The most significant transformation of its urban landscape occurred during the Soviet era when the city was rebuilt as a model Soviet city, following the 1966 earthquake that caused substantial damage. During this reconstruction, architects from various regions of the Soviet Union collaborated with local experts, resulting in a unique form of architectural modernism that harmoniously integrated elements of Islamic architecture, indigenous creativity, and cutting-edge engineering achievements of that era. At that time, Tashkent held the esteemed status of a prominent international city in the East.
On Wednesday, October 4, the fifteenth edition of the Architecture Film Festival Rotterdam (AFFR) will start. The program involves an extensive list with almost 100 films about architecture and the city, with prominent figures like Rem Koolhaas, Inez Weski, and Martin Koolhoven joining as guests. The festival includes film premiers, classic screenings, masterclasses, excursions, and short programs. Combining the film and built environment worlds, the event will be taking place from 4 to 8 October 2023.
In 2018, OMA opened the Fondazione Prada in Milan, Italy, housed within a former gin distillery established in 1910. The project which includes a statement facade cladded in 24-carat gold leaf and camouflaged mirrors, comprises the renovation of seven buildings in the Largo Isarco industrial complex on Milan’s southern outskirts, making the foundation neither a preservation project nor a new architecture. Recently, photographer Bahaa Ghoussainy captured the infamous structure in his new architectural photo series.
As you make your way through the symphony of wooden colonnades, leafy screen walls, and unfurled roofing, towards the converging veins of flooring and ceiling ribs leading to the light, it feels like a space that was always meant to be there. Part of the park, the pavilion complements the nature around it, reflecting its patterns, and illuminates a main interior feature: a concentric set of tables and stools that inspire people to sit at the moment, hold conversations, and connect with each other. This narrative tells the tale of this year's Serpentine Pavilion, designed by French-Lebanese architect Lina Ghotmeh.
Titled, À table, It draws inspiration from the designer’s connection with nature growing up and is reminiscent of the French call to sit together at a table, share a meal and enter a dialogue. It foregrounds the table as a laboratory of ideas, concerns, joys, connections, and essentially brings people together. It further reflects on the architectural ideals that can provoke and welcome moments of collective conversations.
Koolhaas' journalism work won him fame in architecture before he completed a single building. The switch from storyteller to architect was more a change in the script than a professional shift. He pointed out that "[architecture] is a form of scriptwriting that implicitly describes human and spatial relationships." Restating the role of architecture in defining daily life beyond buildings and cities' construction, architecture is also a written and spoken tool capable of explaining daily worldwide events, giving voices to unspoken projects, and actively shaping the future of the architect's role.
Cities evolve over countless years, each moment of change building up to larger societal and architectural shifts. Metropolises across the world are constantly subject to social, political, economic, or environmental forces that alter their fundamental identity - a character that is meant to be dynamic. As cities develop in size and impact, advancements in the understanding of cities and urbanism grow more complex.
Cities are formed from a sequence of narratives, characteristics, relations, and socio-spatial values that reflect the identity of the place. The livelihood of the city also depends on its people and a mutual relationship with them. Along with their communities and their circumstances, cities morph to reflect their residents' needs and values.
The Guggenheim Museum in Bilbao is celebrating its 25th anniversary this October 2022. Set on the edge of the Nervión River in the Basque Country, Spain, Frank Gehry's Guggenheim boosted the city's economy with its astounding success and changed the museum's role in city development. Twenty-five years on, the Bilbao Effect continues to challenge assumptions about urban transformations and inspires the construction of iconic pieces of architecture that uplift cities' status, calling investors and visitors.
Rem Koolhaas, co-founder of Office for Metropolitan Architecture (OMA), receiver of the Pritzker Prize Award in 2000, and leading urban theorist, was one of the first to question the high-rise phenomenon and its influence on city transformation. Particularly intrigued by the Gulf region and the urban ambitions of this area, in 2009, during the 9th edition of the Sharjah Biennial, he delivered a lecture on the potential of re-inventing urbanization in the Emirates.
On the occasion of the golden jubilee of UAE, marking 50 years since the Emirates were founded in 1971, 50U, published by Archis explores the different developments in the Gulf, this region that “witnessed the transformation of a partly nomadic, partly town-based community into a globally active metropolitan society”. After Al Manakh, in 2007, followed in 2010 by Al Manakh Cont’d, 50U tells the story of the UAE through 50 portraits of people, plants, and places. The book also shares an excerpt of Koolhaas’ 2009 talk that reflects on contemporary conditions, focusing specifically on his reading of Dubai, his architectural involvement as well as his future urban predictions.
Taipei Performing Arts Center designed by OMA has opened to the public. The project jointly led by Rem Koolhaas and David Gianotten is located at Taipei’s Shilin Night Market. The contemporary performance theatre generated debates among architects when it was first announced in 2009 due to its unusual shape. Morphed by a series of programmatic operations, the form intersects three types of theater in order to accommodate a variety of performances. Now this place for cultural creatives is open, allowing the public to explore new possibilities in performing arts and experience different aspects of the theater.
Following Qatar's ambitious museum-building project to further promote cultural institutes in the country, Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, Chairperson of Qatar Museums has announced that OMA, Herzog & de Meuron, and ELEMENTAL will be designing three new museums in Doha that explore the themes of Islamic art, contemporary art, and evolution of the automobile industry respectively.
Foto panorámica de la playa de Paysandú. Imagen de Gabriel Stock Uruguay. Image via Shutterstock
The Municipality of Paysandú commissioned OMA (Office of Metropolitan Architecture) to draw up the project for the urban transformation of Paysandú's waterfront. Covering an area of about 350 hectares, the Master Plan extends from the "General José Artigas" International Bridge, which links Paysandú with Argentina on the northern border, to the mouth of the Sacra Stream.
Marta Minujín, Parthenon of Books, Dokumenta 14, Kassel, Germany, 2017. Image by Anne-Catrin Schultz.. Image Courtesy of Real and Fake in Architecture–Close to the Original, Far from Authenticity?
The term “fake” has been in the media frequently in the early 21st century, referring to headlines and fictional statements that are perceived as real and are influencing public opinion and action. Replacing the historically more common term “propaganda,” fake news aims at misinformation and strives to “damage an agency, entity, or person, and/or gain financially or politically, often using sensationalist, dishonest, or outright fabricated headlines.” Tracing fake news and differentiating “real” information from personal opinions and identifying intentional (or unintentional) deceit can be complicated. It is similarly complex to trace the duality of fake and real in the built world. To explore the larger context of fake statements in architecture and environmental design, a look at the definition of fake and related terms might be necessary.
Architecture education is not only about learning how to design and construct buildings but it gives a whole new perspective on our built environment and on how design can contribute to create quality spaces and experiences. Moreover, a big percentage of this design thinking can be used by professional architects as a resource to create other spatial configurations that vary from the traditional building, opening up to a diverse world of possibilities in terms of spatiality and materials.
As a design feature, cantilevers can exist for any number of reasons, as rational results of form-making, impressive feats of engineering, or just unnecessary spectacles. Either way, they often result in buildings that appear both heavy and light at the same time and they present safely precarious situations for their inhabitants. The video describes what cantilevers are as well as some of the structural principles which govern their design like tension, compression, moment, and shear. It also goes over some great examples by architects like MVRDV, Rem Koolhaas, Ensemble Studio, and Richard Rogers. Finally, it concludes with appreciation for structural engineers and lists a few of the ones responsible for some of the most daring of delicate dangles.
OMA's research and publication branch AMO has taken over the fences of the United Nations Headquarters in New York for a public exhibition showcasing a follow-up of the 2020 Countryside, The Future project. Curated by Rem Koolhaas and Samir Bantal, director of AMO, Countryside at the United Nations, invites reflection and public discussion on the topics of agricultural innovation, ecological change and food production in anticipation of the UN Food Systems Summit taking place in September 2021.
