Arch Daily |
- SOM Designs Kinematic Sculpture for Chicago Design Week
- Villa Montagnola / Attilio Panzeri & Partners
- Tianjin Binhai Museum / gmp Architects
- House for W / MFRMGR Architekci
- Hangzhou Haishu School of Future Sci-Tech City / LYCS Architecture
- Oban Residence / Mittelman Amsellem Architects
- AD Classics: Expo'98 Portuguese National Pavilion / Álvaro Siza Vieira
- Serenity in the City / PENY HSIEH INTERIORS
- Baradari / Studio Lotus
- Sri Lanka Passive House / JPDA
- Housing, What’s Next? Challenges and Innovation in the Global South
- House A / Andrew Walter
- Tintagel House / Stanton Williams + Universal Design Studio
- Spotlight: Paul Rudolph
- SJAIII / CDM Casas de México
- Angelo Renna Designs Artificial Sponge Mountain to Absorb CO2 in Turin
- Kansas State University - College of Architecture, Planning and Design / Ennead Architects + BNIM
- James Stirling's Postmodern No 1 Poultry Building Reopens as WeWork Offices
- Convent Carmen / Francesc Rifé Studio
- “Architecture Happens Because We Believe in a Better Future”: An Interview with Jürgen Mayer H.
| SOM Designs Kinematic Sculpture for Chicago Design Week Posted: 23 Oct 2018 09:00 PM PDT _Benny_Chan_(4).jpg?1540293180 "Kinematic Sculpture. Image © Benny Chan") Kinematic Sculpture. Image © Benny Chan Architecture firm SOM has designed Kinematic Sculpture, an origami-like pavilion installation for Chicago Design Week. Exploring kinematics as the science of motion, the sculpture was formed as one of the firm's ongoing interdisciplinary research projects. As a test in integrated design, the structure aims to establish ideas that foster new architectural and structural solutions for pressing challenges in the built environment. _Benny_Chan_(1).jpg?1540293132 "Kinematic Sculpture. Image © Benny Chan") Kinematic Sculpture. Image © Benny Chan _Benny_Chan_(3).jpg?1540293165 "Kinematic Sculpture. Image © Benny Chan") Kinematic Sculpture. Image © Benny Chan Kinematic Sculpture will be installed as an experiential structure within the lobby of Chicago's historic Railway Exchange Building. Free and open to the public every day from 9:00 a.m.-6:00 p.m, SOM's Kinematic Pavilion celebrates "Design in Motion" at Chicago Design Week 2018 through both a scientific and a human lens. Merging structural engineering expertise with architectural design and artistic vision, the Kinematic Sculpture demonstrates how collaboration puts design in motion. Find out more about SOM's Kinematic Sculpture and register on Eventbrite.  This posting includes an audio/video/photo media file: Download Now |
| Villa Montagnola / Attilio Panzeri & Partners Posted: 23 Oct 2018 08:00 PM PDT  © Giorgio Marafioti
 © Giorgio Marafioti Text description provided by the architects. The villa is situated on a piece of land that enjoys a splendid view of Lugano Lake. The suggestive view and the impending presence of the rocky mass behind the site have dictated the principles of inclusion of the entire building. The villa relates to the rock - from which it originates - in a dynamic dialogue, and at the same time, stretches towards the lake. The intrinsic morphology of the site and its south-west orientation towards the lake have directed the designer's choice.  © Giorgio Marafioti The building is totally closed to the other villas located in the north-east but remains completely open on the other sides, establishing a close relationship with the surrounding landscape. The building looks like a block of black pigmented exposed concrete - the black color deriving from the rock from which it was created - with raw boards laid running in the same direction. This characteristic lives up the façade, emphasizing the alternation of full and empty openings.  © Giorgio Marafioti The light enters through the full-height openings, filling and enveloping the interior spaces of the villa and creating a warm and cozy environment. Doors and windows in natural oak wood enhance this peculiarity. The internal contrast between the white of the plaster and the black of the concrete creates suggestive plays, underlined by the glimpses that the villa skillfully offers. The continuity of the spaces is an important point of connection for the entire project. The detached villa is built on three levels. The basement houses the technical rooms, the garage and the living spaces for guests.  © Giorgio Marafioti  Ground Floor Plan  © Giorgio Marafioti Thanks to the white color of the resin on the floors and plaster on the walls, the rooms gain a surprising shine and open towards an external patio. The living area is located on the ground floor: a spacious living room with a large fireplace overlooks the garden which juts into an infinity pool where the view encompasses the entire surrounding landscape. On the upper level, the night zone provides four bedrooms and a study, each with private bathrooms and wardrobe. The roof is flat and covered with black gravel.  © Giorgio Marafioti Great importance is given to the external layout, which is the result of important choices, with a great variety of plants and various species; the alternation of teak flooring and turf creates a perfect symposium. The paving of the vehicular area is made of small cubes of granite and enters the lobby of the villa, enhancing the continuity between inside and outside. Thanks to a walkway in the rock you can climb to a belvedere terrace that offers a wonderful view of the entire complex and the lake. The final result enhances the region, merging in perfect harmony with the surrounding landscape.  © Giorgio Marafioti  This posting includes an audio/video/photo media file: Download Now |
| Tianjin Binhai Museum / gmp Architects Posted: 23 Oct 2018 07:00 PM PDT  West elevation. Image © Christian Gahl
 Northwest elevation . Image © Christian Gahl Text description provided by the architects. The Tianjin Binhai Cultural Center has been completed with a new museum building designed by Architects von Gerkan, Marg and Partners (gmp). The Museum of Modern Art is part of the art and cultural complex in the port city of Tianjin, which has been built to a masterplan by gmp. The new building will be used to show exhibitions of work by contemporary artists. With its open layout and mobile wall elements, the museum provides a flexible stage for the art.  Inner facade. Image © Christian Gahl With the Tianjin Binhai Cultural Center, Binhai—the new quarter of the eastern Chinese metropolis Tianjin—has received a new cultural center. The special task of this project was gmp's masterplan for this cultural quarter with its museums, theater, and events buildings, which were designed by various international archi- tects' practices. The five cultural institutions are connected by a "cultural concourse" that is covered by a series of inverted umbrella-like structures.  Entrance from cultural concourse. Image © Christian Gahl The building occupies the north-western corner of the Tianjin Binhai Cultural Center opposite the Science & Technology Museum. The 26,500 square meters of gross floor area of the Museum of Modern Art is arranged over five floors. A cladding of light-colored natural stone panels has been used on the facade of this cube- shaped building. The number of slot-like story-high windows on each floor increases towards the top. Towards the road and the covered "cultural concourse", the stone envelope is opened up with a stepped glass facade that recedes story by story and, as well as marking the main entrances, provides views to the inside allowing visitors glimpses of the art.  Detailof street facade. Image © Christian Gahl The concept of the design is based on a classical museum building; two symmetrical exhibition wings flank a central area which houses functions such as the formal reception area, an auction room, and a multifunc- tional hall. From the road entrance in the western facade, a wide staircase leads to the central foyer with reception area on the second floor, which is at the same level as the cultural concourse of the Tianjin Binhai Cultural Center. From the cultural concourse entrance, visitors reach the reception area directly via an atrium.  Floor plan level 2  Section museum - cultural concourse In future, the museum will show the work of contemporary artists on three of its floors. In the loft-like exhi- bition areas, the mobile wall elements can be used to subdivide the space and create rooms of varying sizes to suit the content of each particular exhibition. This flexible layout and a clear room height of seven meters make it possible to exhibit even large installations. Lighting frames are suspended from the ceiling, which pro- vides flexible lighting for the exhibition areas. In addition, there are spotlights that can be variably positioned in order to highlight specific freestanding exhibits.  Reception area. Image © Christian Gahl The fifth floor of the building accommodates the administrative functions. Offices, conference rooms, and staff areas have been arranged around two roof gardens that provide daylight to the adjacent spaces and can be used by staff at break times.  Exhibition area with mobile wall elements. Image © Christian Gahl  This posting includes an audio/video/photo media file: Download Now |
| House for W / MFRMGR Architekci Posted: 23 Oct 2018 06:00 PM PDT  © Maciej Jeżyk / ONI Studio
 © Maciej Jeżyk / ONI Studio Text description provided by the architects. The object of the project was the last segment of a row of terrace houses. Its new owners faced the typical problems of buildings from this period in Poland: bad building materials, elevated ground floor, unpractical layout of inner walls. The effect was a house closed to the outside world full of uncomfortable separate and dim rooms. A small add-on included a garage, a living room and a terrace above. The whole plot was small and exposed from all around – the house had actually no garden.  © Maciej Jeżyk / ONI Studio Our task was to create a new functional layout inside and to completely remodel the add-on inside its existing borders. The starting point was the neighborhood – designed as a "city-garden". In our project we tried to make some frames which could be used as support to plants - we wanted to enlarge the existing garden, which part and continuation would be walls and terrace of the building. Thanks to this we provided some leisure area outside – the terrace on the first floor accessible from the living room by new outside stairs. The outside brick walls cover it from the sight of the passers-by, whereas openings and translucent parts let the sunlight inside.  © Maciej Jeżyk / ONI Studio  Section BB  © Maciej Jeżyk / ONI Studio  Section AA  © Maciej Jeżyk / ONI Studio The interior was adapted to the needs of the modern, four-people family – on the ground floor we created an open-space living area, designed three bedrooms on the first floor and some utility area in the basement. Skylights in the roof enlighten the lower floors thanks to some openings in the slabs.  © Maciej Jeżyk / ONI Studio  This posting includes an audio/video/photo media file: Download Now |
| Hangzhou Haishu School of Future Sci-Tech City / LYCS Architecture Posted: 23 Oct 2018 05:00 PM PDT  © Shengliang Su
 West Aerial View. Image © Qingshan Wu Text description provided by the architects. Traditional school planning in modern Chinese cities usually provides students and children with an adult-scale campus environment at an excessively early stage. Such environment gives no help to them in coping with high educational and social pressure. Facing these phenomenon, it is the architects' responsibility to subversively break these conventions in school planning and offer children with space of their own scale and age in which they will enjoy living and studying.  Child Drawing. Image Courtesy of LYCS Architecture  Diagram. Image Courtesy of LYCS Architecture Ideal school in High-density Space  Ideal School In High-density Space. Image © Shengliang Su  Courtyard Of North Primary School Building. Image © Qingshan Wu The school project consists of teaching buildings, an administration building, a gym, a canteen, etc. All the functional spaces are connected in series through corridors, inner courtyards and corridors of different opening degrees. Exposed stairs and corridors shaped dynamically are not only designed for circulation, but also for plenty of activity spaces. Under the gabled roofs are various common areas particularly designed for different types of gatherings, communications and social activities. As a mini society, the school enables students to build their own social consciousness with daily experience.  Exposed Stairs And Corridors. Image © Shengliang Su  Uder The Corridors. Image © Shengliang Su Small-scale House for Different Ages  Dynamic Skyline. Image © Shengliang Su The enclosure of the building creates a distinctive inner courtyard and interesting street space.The space in-between buildings offers inner courtyards with variation of paving and landscape. A main street that satisfies youngster's curiosity and desire is also created in between the blocks.  Corridor With Double-deck Transportation. Image © Shengliang Su The kindergarten building stands as an independent U-shaped unit with open arms embracing the children. The rainbow runway echoes the architectural colours, creating a space that is colorful, unrestrained and whimsical. The "small house" form of the building was extended to the interior. The shapes of children's paintings appear here, so that they will get a wonderful first impression of the world from their curiosity about architecture.  Independent U-shaped Unit Of Kindergarten. Image © Shengliang Su  Semi-open Corridor. Image © Shengliang Su The primary school is divided into two parts, the north and south sides, corresponding to the lower grades and the upper grades.The south buildings consist of four 4-floor units which form a half yard towards the Central open space.From entering the campus, the children walk into the yard by center walkway and then get the teaching building, which also guided the children to explore the campus space. Located near main road in the city, the highest building on the north side provides an unified facade that coordinates with the overall urban interface. In addition, the corridors and public spaces are enlarged purposely to connect the second floor of all building, so as to create an extra elevated public activity area.  Corridors Create More Activity Areas. Image © Qingshan Wu  Corridor And Courtyard Interpenetrate. Image © Qingshan Wu Fun Roof Space for Free Exploration  Roof Theatre. Image © Qingshan Wu  Roof Playground. Image © Qingshan Wu  Roof Runway. Image © Qingshan Wu Recognizable and Colorful Gable  Gabled Facade Collection. Image Courtesy of LYCS Architecture  Gables And Stairs. Image © Qingshan Wu Additionally, five buildings within the compound are covered with deep red in order to create a different rhythm within a unified materiality. Students,especially kindergarten children can easily describe their location in the campus according to the different facades,which helps to form their own cognitive map of the campus.  Corridors And Courtyards Are Also Spaces For Communication. Image © Shengliang Su  Colourful Gabled. Image © Qingshan Wu Adhering to a special variation in scale, the design of this entire campus closely follows the growth and emotion of its users.The design notion of "the story of a small town" will allow students and children to enjoy their own fairy tale like campus.  Street Space Between Buildings. Image © Shengliang Su  This posting includes an audio/video/photo media file: Download Now |
| Oban Residence / Mittelman Amsellem Architects Posted: 23 Oct 2018 04:00 PM PDT  © Jack Lovel
 © Jack Lovel Text description provided by the architects. As one of eight heritage listed, terraced single story dwellings, all visually read as a continuous roof pitch and street façade, the project site shares a boundary with both northern and southern neighbors.  © Jack Lovel In respecting the visual scale and historical value of the streetscape, this proposed extension maintains the heritage listed façade and chimney of the existing dwelling, by designing an extension behind the main ridgeline, completely concealed from street views. This creates an intriguing transition into the heart of the home, through an intentional contrast between new and old.  Ground Floor Plan  © Jack Lovel  Sections By preserving remnants of the original home such as front bedrooms and chimney, and introducing a contemporary language of space and materiality, the result is an innovative and captivating solution enabling natural light to pierce through into a narrow entry corridor from above.  © Jack Lovel This approach enables a carving of the existing Victorian Cottage with natural sunlight, exploring continuity of space into another, revealing form and function. A refined and fresh materials palette provides the canvas for an abundant range of variation in light quality and direction. Each room weaved into a composition of skyward views, the exterior and interior becoming a single experience.  © Jack Lovel  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Expo'98 Portuguese National Pavilion / Álvaro Siza Vieira Posted: 23 Oct 2018 03:00 PM PDT  © Dacian Groza This article was originally published on January 2, 2015. To read the stories behind other celebrated architecture projects, visit our AD Classics section. Built for the 1998 Lisbon World Exposition, the building was designed to be the thematic centerpiece of the festival and the host country's national pavilion. The theme of the Expo, "The Oceans: A Heritage for the Future," commemorated the heritage of Portuguese discovery and demanded from the architect a sensitive interplay between the pavilion and the harbor. Siza, who at the time was Portugal's most renowned modern architect, was selected to design the building as the grand entrance to the fairgrounds. With the help of fellow countryman Eduardo Souto de Moura and the engineering expertise of Cecil Balmond, Siza created a space that was visually striking and highly effective at meeting the festival's programmatic needs and site-specific requirements.  © flickr user Paulo Guerra The focal point of the project is a large, open public plaza shaded by a suspended overhead canopy. The architect, emphasizing the connection between the space and the view beyond, wanted to frame the vista of the river with an enclosed and column-free space. Two monumental piers support the roof, behind one of which sits a building designed to house the pavilion's main exhibition spaces.  West elevation The trademark canopy is a tremendous feat of technology, engineering, and modern design. It is formed by the catenary arc of steel cables draped between the porticoes which were subsequently infilled with pre-stressed concrete. Using the same technology as a suspension bridge, it is designed as a stressed-ribbon structure, wherein the loose cables are stiffened with concrete to eliminate sway and bounce. In addition to giving the canopy an elegant, clean texture, the painted concrete weighs the roof down to prevent strong drafts from moving or lifting it from below. .jpg?1413179686 "© flickr user Paulo Guerra") © flickr user Paulo Guerra While the enormous canopy spans an area of 70 meters by 50 meters, it is a mere 20 centimeters thick, giving it the appearance of thin floor rug hanging gently from its tassels. From afar, with the slender profile clearly visible, it looks impossibly light and weightless. From underneath, however, the solidity of the concrete and the sheer vastness of the enclosure creates a heavy and somewhat oppressive sensation that forces visitors' attention to the views framed by the structure. From this perspective, only at the very joint between the roof and the porticoes is the thinness of the canopy evident. Here, in a truly masterful detail, the concrete stops abruptly before the wall and reveals the thin cables that connect the canopy to its supports.  © Flickr user Pedro Moura Pinheiro The porticoes, while playing an important structural role, are articulate architectural elements in their own right. Each has nine massive columns, arranged in a beautifully rhythmic but provocatively asymmetrical manner. Deep cuts between the columns create dramatic contrasts of shadow and light, highlighting the clean lines of the columnar profiles. A façade treatment of colorful ceramic tiles in the deep recesses, glazed in the national colors of green and red, adds a playful touch to the otherwise austere and monumental structures. To the north of the public plaza, a rectangular building provides an elegant if more classically modern space for exhibitions. Focused around a central courtyard, it is derived from a single grid system with the exception of a lone diagonal wall angled toward the water on the northern side. The building is outwardly simple and clean, painted white with a rusticated ground level. Balconies and cantilevered roof slabs break up the planar profile and give the exterior of the building a diverse range of spatial and formal conditions.  © flickr user Gabriel Konzevik  © flickr user bricolage 108 Throughout the project, though especially around the plaza, the architecture projects a clear sense of structural honesty. The catenary arc of the canopy reflects natural physical properties of suspension structures, and the articulate exposure of certain structural elements and joints results in a powerful architectural language. The aesthetic of the exhibition building may gravitate more toward the structurally simplified language of minimalist modernism, but this is mitigated by the obvious structural performance of dominant elements like columns and cantilevers. The lone exception to the tendency toward structural honesty may be in the porticoes, where the block-like massiveness of the piers betrays none of the tremendous inward-pulling forces generated by the weight of the canopy, and the orthogonal construction rejects the tapered form that would ordinarily be dictated by their structural function. [1]  © flickr user Valentina Innocente Perhaps the most striking quality of the pavilion is its interplay between moments of delicacy and monumentality. Careful decisions about scale project a varyingly imposing and welcoming presence, particularly in the proportions of the porticoes and the canopy. The rational, ordered, and stark language of these devices draws the eye to the the simple range of forms framing the ocean view and lets these powerful geometries speak for themselves. [1] Charleson, Andrew W. "Structure as Architecture." Elsinger Press: Massachusetts, 2005, p. 27.
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| Serenity in the City / PENY HSIEH INTERIORS Posted: 23 Oct 2018 02:00 PM PDT  © Hey!Cheese
 © Hey!Cheese Text description provided by the architects. A serene view from the top of the house strengthens the busyness of the city. All come into view. A great contrast and comparison are formed between the busyness of city and serenity of the room; they are conflicted yet connected at the same time. It's a life style, a beautiful balance between fast and slow, move and still, busy and leisure in our life. It's an attitude for our life, and a beginning of design.  © Hey!Cheese An inspiration from the outdoor and the primal nature emphasize the slow life style. From the entryway, the façade and ceiling extend the three-dimensional lines, and the subtly embedded light source stretch out like streams flowing out of seams.  © Hey!Cheese Turning around, we could see a paradise before us: the wide living room takes gray as the basic hue, revealing the truth of life by the primal texture; wavy arches ripple on the ceiling;  © Hey!Cheese an impressive screen wall depicts a leveled vision of landscape; black window frames and walls create scenery where conversation between the inside and the outside is formed. The tempo and emotional transformation of dreamy life are reflected.  © Hey!Cheese  © Hey!Cheese  © Hey!Cheese In the corner, the greenery of the garden in the air is an energy that smoothes our life, bringing leisure and rumination to Serenity in the City. The aisle adapts the image of outdoor brick walls, connected to the main bedroom space on the other end. It's also a harmonious interlude between public area and private serenity.  © Hey!Cheese The main bedroom is covered by 2 gray wooden cases, which form a warm hole along with the arch falling down from the top. The light slowly infiltrate through the window and the walls, speaking of an eternity.  © Hey!Cheese  © Hey!Cheese Suddenly, in the membrane of the inside and the outside, the busyness of city is simply a sigh beneath our feet, and the nature is only a step from us. A breeze blows from the landscape. Relieving our heart, a deep but calm force bring the din away.  © Hey!Cheese  This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 Oct 2018 01:00 PM PDT  © Edmund Sumner
 © Edmund Sumner Text description provided by the architects. The Baradari at City Palace Jaipur in Rajasthan cites an insightful example of how design brings inherent value to a place where conventions on conservation and adaptive re-use are looked at through a fresh lens.  Former Floor Plan  Refurbished Floor Plan Context  © Edmund Sumner Design Approach  © Edmund Sumner Design Intervention  © Edmund Sumner Reinterpreting Craft  © Edmund Sumner The skilled artistry of local craftsmen in marble as a material has been applied in the modern syntax for the flooring, the Pavilion, dado work, benches, table tops and more. Housing the island bar, the contemporary Baradari-inspired Pavilion is built using metal, fluted marble, and mirrors heightening the historical vocabulary of the existing buildings. Mild steel and brass are used for bespoke lighting and door design. Constrained budgets encouraged the design team to use a combination of new and existing furniture salvaged from the Palace. Inspired by the hybrid influences, upholstery and weaving patterns were generated to give them a new lease of life. The layering of design, craftsmanship, materials and even cuisine is what creates the overall experience of the Baradari, defining it as a historic fine dining destination that re-presents Jaipur in the context of today.  © Edmund Sumner  This posting includes an audio/video/photo media file: Download Now |
| Sri Lanka Passive House / JPDA Posted: 23 Oct 2018 12:00 PM PDT  © Ganidu Balasuriya
 © Ganidu Balasuriya Text description provided by the architects. Jordan Parnass Digital Architecture (JPDA) has completed the first Certified Passive House project in South Asia, proving that ultra-high-performance efficiency standards are achievable for buildings in any climate.  © Ganidu Balasuriya The Star Innovation Center is a product development facility located near Colombo, Sri Lanka. Intended to be a global model for the entire garment industry, the project sets a new high bar for sustainability, energy efficiency and worker comfort.  © Ganidu Balasuriya The project is one of only two certified Passive House factory buildings in the world, and annual energy consumption will be cut by over 75% compared to a conventionally "efficient" modern industrial building.  © Ganidu Balasuriya By choosing to renovate an obsolete building to Passive House standards, the project dramatically reduces the waste, carbon emissions and fossil fuels typically required for demolition and new construction, and promotes the client's commitment to maintain high standards in social, environmental, ethical and safety compliance.  © Ganidu Balasuriya The Star Innovation Center is a pioneer in applying Passive House technology to a tropical monsoon climate, which features steady warm temperatures year-round but extremely high relative humidity. The majority of existing high performance buildings have been located in cool, Northern European-style climates where heating is the primary consideration.  © Ganidu Balasuriya Careful design and engineering of the building systems and enclosure ensures that workers enjoy year-round comfort in a workspace that provides abundant natural light, low humidity, filtered fresh air, and maintains temperatures near a constant 24 °C (77 °F).  © Ganidu Balasuriya Thorough testing of the airtightness and remote monitoring of the ongoing energy usage provide quantitative confirmation of the building performance, achieving projected operational cost savings for the client and vastly upgraded workplace environmental standards for the employees.  © Ganidu Balasuriya From the outset the agenda was to assemble an integrated project team including local architects, engineers, fabricators and builders to encourage technology transfer and demonstrate the feasibility of high performance building in the region.  © Ganidu Balasuriya By promoting the project's goals and inspiring the local building industry JPDA has sought to establish a clear path to both reducing global carbon emissions and putting an end to worker "sweatshop" conditions.  © Ganidu Balasuriya Charles Komar, CEO of Star parent company Komar Brands expounds: "We are delighted with the comfort and performance of our Passive House building, and look forward to years of energy cost savings. Working with JPDA was a pleasure—Jordan and his team worked diligently to overcome challenges for the successful design and execution of the project."  © Ganidu Balasuriya  This posting includes an audio/video/photo media file: Download Now |
| Housing, What’s Next? Challenges and Innovation in the Global South Posted: 23 Oct 2018 10:08 AM PDT  HOUSING: WHAT'S NEXT? FROM THINKING THE UNIT TO BUILDING THE CITY During the twentieth century the world population increased at a higher rate than at any other period in time, from around 1.5 billion people in 1900 to nearly 7 billion today. Facing these figures, it is impossible not to think about what we have done to accommodate this population, or rather, what all these people have done to obtain housing. Figures indicate that although we have been able to build large quantities of houses, and have begun to cover the quantitative deficit, today the great challenge is to improve the quality of the existing housing stock. At a time in which this effervescent population growth persists–particularly in the geographical regions of the Global South and in emerging economies–the question is how do we change the paradigm and start thinking about housing in relation to the quality of the urban fabric to build better cities.  Responding to this situation the Housing and Urban Development Division of the Inter-American Development Bank started a project called Housing ¿What's Next? which looked into 100 cases that helps us thinking about housing in a more productive and holistic way. The cases and reflections are compiled in an exhibition and a book which provide a repository of detonating ideas that allow us to learn from what has been done in other contexts and to project in multiple axes how housing can still be exploited as a transformative element for the city. The exhibition is an invitation to strategically use what we have learned to imagine new solutions and possibilities and to bring to the table a renewed agenda for the development of housing and the city of the future. All the material will be compiled in an IADB publication named Housing: ¿What´s Next? Edited by Veronica Adler and Felipe Vera and published by Lots of Architecture Publishers which will be launched in November 2018. The event "Housing what's next? Challenges and innovation in the Global South" will take place at the IDB headquarters in Washington DC on October 26th.
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| Posted: 23 Oct 2018 10:00 AM PDT  © Ben Hosking
 © Ben Hosking Text description provided by the architects. A house composed of a field of rooms which open and close in dialogue with a landscape.  © Ben Hosking Revitalised relationships have been created between the house and elements of its natural environment. Openings in the facade, at various scales, reset territorial boundaries creating diverse connections and dialogues between neighbouring buildings, landscapes and the people that occupy them.  Ground floor plan  © Ben Hosking  1st floor plan The simple massing composed of simple materials focuses the viewer's' attention onto the relationship of the house to its environment. The house at specific points, opens up, to create moments of porosity for landscapes to inhabit. At each of these openings different landscape conditions can be found that are unique responses to the orientation of each courtyard embracing the specific qualities of light, air and the proportion of space. These landscapes have an influence on the adjacent interior space. Interior spaces expand or contract in dialogue with the landscape harmoniously with functional needs. The interior spaces are open, light filled and are detailed to limit distraction.  © Ben Hosking Materiality is a detail often oversimplified or over complicated. A rough sawn timber used for the exterior reveals a native material quality often erased during manufacturing. This rough and protective boundary embraces the natural variation of the material. Moving through the house the material texture changes and volumes open up and collide with landscaped spaces that punctuate the plan. Opacity makes way for transparency, privacy for openness and inclusion.  © Ben Hosking  This posting includes an audio/video/photo media file: Download Now |
| Tintagel House / Stanton Williams + Universal Design Studio Posted: 23 Oct 2018 09:00 AM PDT  © Charles Hosea
 © Charles Hosea Text description provided by the architects. Tintagel House, The Office Group (TOG)'s new flagship flexible workspace on Albert Embankment in Vauxhall, has opened following a major refurbishment by architects Stanton Williams and interior design by Universal Design Studio. Acquired by TOG in 2015 and their largest project to date, the building will offer 95,000 sq ft of serviced office and co-working space, and a wealth of communal spaces including a café, bar, gym, lounge and kitchens.  © Charles Hosea Built in 1960 and occupied by the Metropolitan Police for half a century, Tintagel House continues to stand out on Albert Embankment, an area that has changed dramatically over the past decades and, with the adjacent Nine Elms Development rapidly taking shape, will continue to do so. A new hub for entrepreneurs and independent businesses, Tintagel House will generate further diversity in the area and contribute to the energy and activity of the revived neighbourhood.  © Charles Hosea Stanton Williams has transformed the existing 12-storey office block into a flexible setting for a variety of work styles, creating affordable office space and ancillary supporting facilities. The project adopts a sustainable approach, expanding and improving the existing office accommodation with the creation of generous communal spaces in the new extension at ground and first floor, as well as the conversion of the panoramic top floor.  © Charles Hosea The ground and first floors have been expanded to activate the frontage and engage both visually and physically with the public space around the building, to create an open and welcoming approach. This new extension allows for generous communal spaces where the building's occupiers can come together, share facilities and interact with the wider community, a fundamental aspect in TOG's approach to the provision of shared work space. The larger floor plates are better suited to open-plan, flexible layouts and can be easily accommodated and reconfigured over time, future-proofing the building.  Floor Plan The existing top floor plant has been largely removed and the elegant 'floating canopy' roof has been converted as office space and a rooftop bar and terrace which makes the most of the prominent riverside location with spectacular views across to Westminster and up and down the River.  © Charles Hosea The relationship between the external open space and the interior of the building is mediated by the introduction of two-storey colonnades which give civic character to the previously introverted lower levels of Tintagel House, while at the same time creating a sense of enclosure and providing private amenity for building users in the form of external terraces along the riverside.  © Charles Hosea The material palette of facing brick and glazed tiles of the new façade references the original concept of the building, as well the site's history of pottery and glazed ceramic production, most notably the presence of the Vauxhall Pottery, active in the area between the 17th and the 19th century.  © Charles Hosea  This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 Oct 2018 08:00 AM PDT  University of Massachusetts campus in Dartmouth. Image Courtesy of UMass Dartmouth One of the United States' leading architects of the Modernist era, Paul Marvin Rudolph (October 23, 1918 – August 8, 1997) was known for his contributions to modernism throughout the latter half of the 20th century. He served as the Chair of Yale University's School of Architecture for six years and famously designed the Yale Art and Architecture Building, one of the earliest examples of Brutalist architecture in the United States.  Image <a href='http://www.loc.gov/pictures/item/2010648334/'>via the Library of Congress</a> (public domain) Born in Elkton, Kentucky, Rudolph spent most of his youth in Alabama and graduated with a bachelor's degree in Architecture from Alabama Polytechnic Institute (now Auburn University) in 1940. After working for a year in Alabama, he briefly attended Harvard University's Graduate School of Design where he studied under Bauhaus founder Walter Gropius. He spent his formative years at Harvard, studying alongside many other preeminent architects of the 20th century including IM Pei and Philip Johnson. He then left school for three years, spending World War II at the Brooklyn Navy Yard before returning to Harvard and graduating with his master's in 1947.  Rudolph Building (formerly known as the Art and Architecture Building) at Yale University. Image © Peter Aaron / Esto After graduation, he moved to Florida where he became one of the most famous architects of The Sarasota School of Architecture, a regional post-war style that is characterized by its careful consideration of local climate and terrain. After working for four years with Ralph Twitchell, Rudolph started his own practice in 1951 and garnered a reputation for his Florida houses. By the late 1950s, he began receiving commissions for larger projects, simultaneously beginning his term as dean of the Yale School of Architecture in 1958 where he taught notable architects including Muzharul Islam, Norman Foster, and Richard Rogers.  Orange County Government Center. Image © Matthew Carbone for Architect Magazine Although he is most often recognized for his concrete structures, when Brutalism fell out of favor in the United States during the 1970s, his style evolved. During this period he designed numerous glass office towers around the world, including the Lippo Centre Station of MTR in Hong Kong. Although his career in the United States began a slow decline in the 1970s, his large-scale projects in Southeast Asia brought him international attention.  Bass Residence. Image © Tony Monk Paul Rudolph is remembered for his landmark buildings across the globe as well as his career-spanning archive, which was donated to the Library of Congress. At the time of his death, he also donated all of his intellectual property rights to the American people, a gift which helped to establish the Center for Architecture, Design, and Engineering at the Library of Congress.  The Colonnade Condominiums. Image © Cooney-Hughes Learn more about some of Paul Rudolph's most notable projects via the thumbnails below: Preservationists Lose Battle to Save Orange County Government Center See Paul Rudolph's Orange County Government Center Dismantled Over 4 Seasons With These Photos References: Wikipedia  This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 Oct 2018 07:00 AM PDT  © Rory Gardiner
 © Rory Gardiner Text description provided by the architects. Throughout history, we have seeked to satisfy the spatial needs of humankind through architecture, often turning our backs on our primeval home, earth, and thus ignoring that the relationships between the elements of its nature define and determine space, and set the first guidelines for architecture. This project emerges, in a conceptual way, precisely from those relationships and it is inspired in the mutualism that nature can achieve allowing for life to exist even in the harshest of conditions.  © Rory Gardiner  Floor Plan  © Rory Gardiner The site, in its natural state, is a heavily vegetated and rocky slope, dominated by endemic species that thrive in the mineral coldness and that grow intertwined with the rough hillside. This state submerges the individual in a very particular atmosphere that inevitably forces the view towards the ocean, constituting a scenario that would set the basis for this project.  © Rory Gardiner In its origin, the program was thought to include the creation of a palapa and a pool; in other words, a roofing structure raised above the ground to protect from sunlight, and a hole in the stone to contain water. Nonetheless, with this idyllic scenario, imposing the program upon the site as if it had fallen almost randomly resulted pointless. The somewhat unconnected roofing structure of a palapa was rethought with a cover that would extrude from the mountain itself towards the ocean, while the water should flood the stone to generate the pool, almost in a way of a pond remaining after the turning tides.  Section Therefore, the slope of the site was to be redirected with a flat cover that seeks to mimetize with the surroundings, and that generates the interior space beneath it. While trying to always maintain the relationship between built and wild, the indoors opens completely to allow the breeze and the red sunset light to inundate the space, aided by the hues of cedar covering the walls.  © Rory Gardiner It is however, the cover on itself that results in a mutable space that transforms into a true viewpoint overlooking the immensity of the horizon during daytime, and an observatory for the stars at night time, favored by its position afar from artificial light sources. These unexpected functions constituted a sort of a gift for the users.  © Rory Gardiner A terrace with the sole purpose of the hedonistic pleasure of feeling good and calm in the presence of the continuous dialogue set between natures, was then generated. The building invites the spectator to form part of this dialogue through the materials obtained from the site itself, as well as through stone and greenery, that establish an Indi sociable relationship with the place; similar to the relationship between a bare foot and sand.  © Rory Gardiner Seen from afar, the architectural ensemble integrates fully with the landscape, highlighting the sand-colored thick fascia of the cover protruding from the rock almost like an accent above nature, which does not alter the essence of it, but rather transforms it and confers a new meaning. In the end, it turns out to be pretty much like the mark on top of the spanish letter Ñ.  © Rory Gardiner  This posting includes an audio/video/photo media file: Download Now |
| Angelo Renna Designs Artificial Sponge Mountain to Absorb CO2 in Turin Posted: 23 Oct 2018 06:00 AM PDT  Sponge Mountain. Image Courtesy of Angelo Renna Amsterdam-based architect Angelo Renna has designed a 90 meter high artificial 'sponge mountain' made to absorb CO2 in Turin, Italy. Formed from soil excavated from the construction site of the railway tunnel connecting Turin to Lyon, the mountain aims to improve air pollution through engineered soil. Mixing sand and concrete, the man-made mountain is designed as a green landmark for the city.  Sponge Mountain. Image Courtesy of Angelo Renna Combining the idea of environmental impact with space for leisure, Renna's Sponge Mountain would create a new recreation area in Turin for the public to exercise, relax or see the city. With a surface of 11 hectares, the mountain would rise above the cityscape and provide views across Turin. The proposal builds off the idea that the construction of the TAV railway will created 6 tons of soil and utilizing the stored calcium carbonate.  Sponge Mountain. Image Courtesy of Angelo Renna Through multidisciplinary research, Renna believes the proposed mountain has the capacity to sequester CO2 in an inorganic form at a rate of 85 tons per hectare per year over five years. Compared to a hectare of rainforest which absorb 5 tons per hectare per year, the project could create a significant impact in the city. The Organisation for Economic Co-operation and Development has estimated that the Turin metropolitan area has a population of 2.2 million. The Sponge Mountain project could help absorb CO2 as Turin continues to expand and urbanize.  This posting includes an audio/video/photo media file: Download Now |
| Kansas State University - College of Architecture, Planning and Design / Ennead Architects + BNIM Posted: 23 Oct 2018 05:00 AM PDT  © Timothy Hursley
 © Timothy Hursley Text description provided by the architects. Responding to the College's focus on the designer as an instrument for positive change in the world, the building design creates a sense of place for APDesign and supports a new curriculum that trains future leaders to reconnect the act of design to making through inter-disciplinary collaboration and a focus on direct fabrication.  © Timothy Hursley The design maximizes opportunities for communication and cross-fertilization of ideas between APDesign Departments – Architecture, Landscape Architecture/Regional and Community Planning, Interior Architecture and Product Design – and related disciplines.  © Timothy Hursley  Ground Level Plan  © Timothy Hursley  First Level Plan  © Timothy Hursley The building is a didactic tool to showcase the fabrication-based research of the school's design community. Studios, crit spaces, exhibition areas, collaboration pods, and faculty offices are arranged around an axial three-story atrium, the "collaboration corridor," to foster a rapid exchange of intellectual and technical knowledge.  © Timothy Hursley The project also introduces new research laboratories and vertically-integrated studios that comprise a 24-hour "Design Information Commons," a new feature to a reconfigured Weigel Library.  © Timothy Hursley  This posting includes an audio/video/photo media file: Download Now |
| James Stirling's Postmodern No 1 Poultry Building Reopens as WeWork Offices Posted: 23 Oct 2018 04:00 AM PDT  Courtesy of WeWork No 1 Poultry, the iconic Grade II* listed landmark in London designed by James Stirling, has opened its doors as WeWork's 28th London location. The Postmodern masterpiece now serves as a WeWork space for 2300 members, as well as shops, a roof garden, and a restaurant. After being saved from a major renovation that would have eliminated its iconic Postmodern façade, No 1 Poultry building was carefully renovated by WeWork's in-house team of designers, featuring bold colors, homely furnishing, and artwork inspired by the surrounding area.  Courtesy of WeWork The sensitive renovation has culminated in large lounges offering views of the scheme's colorful, blue ceramic tiled rotunda. The prow of the building features boardrooms, wellness spaces, and intimate lounges, positioned to exploit views of Bank Junction and central London.  Courtesy of WeWork The interiors are adorned with tongue in cheek artwork referencing the surrounding area, such as shoes stepping in gum, workers sliding on banana skins, and "a neon depicting a London cab with wheels alight referencing the phrase 'burning up the streets of the city'."  Courtesy of WeWork
 Courtesy of WeWork The scheme is one of 280 WeWork locations across 77 cities, providing space for startups, freelancers, small businesses, and Fortune 500 companies. News via: WeWork  This posting includes an audio/video/photo media file: Download Now |
| Convent Carmen / Francesc Rifé Studio Posted: 23 Oct 2018 03:00 AM PDT  © David Zarzoso
 © David Zarzoso Text description provided by the architects. The old convent of San José in Valencia opens up to the world under the name of Convent Carmen and a new narrative that balances design, history, and nature. It is a space for culture, gastronomy, and soon hotel, that transgresses the conventional modes of expression in its genre. Beginning with an intervention in the desacralized church, up to the exuberance of its bucolic garden, and the explosion of social activities for which space has been consciously prepared. The expressly minimalist implementation of the studio begins with the church, which has become the main access, passageway, and multi-purpose space.  © David Zarzoso  Planta An independent metal armor reinterprets the original shape of this 17th-century religious building, articulating a flow of contemporary lines and adding a new dimension to the Renaissance space. Designed as a 21st-century sculpture, it has been projected completely independently to the walls of the church, either for patrimonial reasons, for which its cataloging prevented any fixation in its current walls, as a concept. The new structure integrates all the audiovisual technical elements, as well as an expressive color lighting system with RGB that will make it adjustable, both formally and emotionally. Its design acts as a longitudinal and transversal conductor, projected with different sections of metal profiles, enameled in black.  © David Zarzoso Through this element was intended to develop an obvious past-future connection, and as it happened in the Renaissance the dome takes an essential role. The crossing between the two naves was the most important point of its architecture, and it is where a symbolic replica of the vault was projected, through the succession of three circles at different heights that create a parabolic form in space. In it, many hanging lamps have been fixed as a great lighting element, which will be the preamble to the altar or new stage. This space for the celebration of the religious rite now becomes a privileged place for musicians, lecturers and a multitude of actors, which will make this one of the main participatory focuses of the city. The simplicity of this intervention demonstrates the importance of holding back and making little noise when the context already expresses its memories with force.  © David Zarzoso The garden is located next to the church. An unknown oasis within the city of Valencia, designed as a true gastronomic "market". Taking the street concept of "food trucks" three gastronomic points have been created in the form of containers in which different types of cuisine are made, and around which the customer can be placed in different seating systems. All the culinary offerings are coordinated by the prestigious chef Miguel Ángel Mayor (1 Michelin star), with fusion cuisine approaches, including "street food", fried Andalusian, Japanese sushi, or innovative dishes of chicken.  © David Zarzoso  © David Zarzoso In an environment of green and lively nature, the small architectural gestures and a base of containers are recognized around accompanied by a large pergola, creates a shadow in the diners and a poetic play of lights. In this way, they adapt to the correct way of working (high areas of stools, running tables, low tables, sunbeds also in the form of a swing) adapting to each of the territories without having to change the geology of the place. This furniture has been designed with a base of tubular metal structures and surfaces of phenolic board dyed in black, which contrasts with the rest of the plant elements that appear in the place.  © David Zarzoso A stage to act, finally define a space that seeks to inspire entertainment and also the strategic form, the best situation of the place, so that all visitors enjoy the activities. Finally, the magic of light. Sunsets will take on a new meaning in this urban garden when ambient lighting comes on. In the same way as in the church, through a controlled system of RGB color light, the environment will be completely transformed. The trees, delicately lit, will become the main protagonists and the lamps distributed in the pergolas and bars, will accompany the diners.  © David Zarzoso  This posting includes an audio/video/photo media file: Download Now |
| “Architecture Happens Because We Believe in a Better Future”: An Interview with Jürgen Mayer H. Posted: 23 Oct 2018 02:30 AM PDT  Museum Garage Miami / Jürgen Mayer. Image © Miguel Guzman Architect Jürgen Mayer H. founded his firm J.MAYER.H in Berlin in 1996. He studied both in Germany (Stuttgart University) and in the US (Cooper Union and Princeton). Back in 2010, Mayer H. told me that while his solid professional education in Germany equipped him with the know-how about the technical and practical aspects of architecture, he still lacked a clear vision about how to develop his own thought and an architectural language. Years of questioning and experimenting eventually led to the development of his own distinctive voice. Mayer H.'s buildings have brought unique identities to many places around the globe, particularly through his use of data protection patterns that triggered the creation of architecture unlike anything seen before. On my recent visit to his studio in West Berlin we discussed the architect's identity. When I confronted Mayer H. about what he thinks about his signature style at the times when it is no longer celebrated by the media he said, "This started as my voice and by now it is the contribution of an entire team. There is no intention or strategy, just our own capacity to work with the medium of architecture."  Metropol Parasol / Jürgen Mayer. Image © Nikkol Rot for Holcim Vladimir Belogolovsky: For so many architects it is the very first project that leads to a particular discovery or a line of inquiry that is characteristic of the entire career that follows. Often it is a house for an architect's mother or one's own house. Is there a manifesto project that played such role in your case? Jürgen Mayer H.: I would name the first key project, the Stadthaus Ostfildern, a townhall in Ostfildern outside of Stuttgart in Southern Germany, which was our first competition-winning project in 1998. When built in 2003, it won the Emerging Architect Prize by the Mies van der Rohe Award. It contained a lot of the basic ingredients that have become a foundation for many of our subsequent projects, including data protection patterns that we used to layout metal ventilation panels on the building's facades. The second key project was Metropol Parasol built in Seville, Spain in 2011. There, we combined the lively urban space with mixing various programs to create vital, multilayered environment. These two projects were instrumental in forming a certain catalogue of ideas that can be traced in all of our work that is distinguished by an understanding of architecture as a space for communication and framed by a strong sculptural identity. VB: About eight years ago we spoke in New York. You expressed very interesting thoughts then and now I would like to go back over some of them to hear your comments as you view them today: JMH: I am quite curious myself. [Laughs.] VB: "I want architecture itself to lead us to potential discoveries."  XXX TIMES SQUARE WITH LOVE / Jürgen Mayer. Image © Rob Kassabian JMH: We need to use this fantastic medium, architecture to explore what is coming, what is possible, as we construct our future. Therefore, we let our curiosity to lead this beautiful adventure of reinventing architecture. The beauty of architecture is in the fact that there are so many different agendas and ways of doing it. VB: Another one – "I see my projects as lenses through which surrounding context is looked to see something new. Architecture is a catalyst, which is not a background to an everyday life, but something that provokes you to rethink spatial conditions." JMH: I still agree with that. Architecture happens because we believe in a better future. Spatially, economically, health wise, and so on. We believe in responsive architecture. For example, how can architecture reduce the level of stress in a contemporary city? We try to tackle such issues and give them an architectural face. VB: "Architecture is a critique and discourse to make commentaries on contemporary life and culture."  JOH3 / Jürgen Mayer. Image © Ludger Paffrath JMH: Meaning, contributing a critical view and projecting something unexpected by rethinking of what is accepted, a norm, a lazy status quo. Ideally, that's what architecture should do. VB: This is important because since we spoke in 2010, architecture, as a discourse has shifted, and architects' rhetoric changed quite significantly. We moved from celebrating the iconic, signature style architecture, and discussing artistry, metaphors, and inspirations to emphasizing social engagement, ecology, economy of means, context, problem-solving, team work, and so on. If you maintain that your work is a commentary on contemporary life and culture, then it must have changed significantly because the architectural discourse evolved. Do you see a particular change in your work as a reflection of how the discourse of architecture has changed? JMH: Meanwhile, the fascination with digital technologies is established in universities, labs, and hubs, and this forms the backbone of a future economy. Parallel to this increasing complexity we see investigations into the activation of communities and strategies to cultivate our commons. VB: I am not talking about gradual evolvement based on continuous research and design process. Since we talked eight years ago, architecture went through a drastic transformation. We no longer celebrate the individual. Your work, from the beginning, was about celebrating the iconic and the invention of a distinctive signature style. It was a direct response to the times. How do you acknowledge the new reality when so many young architects openly suppress their individuality? Is there pressure to make any concessions?  Court of Justice / Jürgen Mayer. Image © Filip Dujardin JMH: Well, we can only write with our own handwriting. Architecture is the same way. There is no specific intention or strategy in regard to the architectural language that we use, just our own capacity to work with the medium that is architecture. However, the making of architecture shifted towards more communication and collaboration which enriches the design process and its complexity. I don't believe our work changed that much even if the discourse has shifted. We were always concerned with how our buildings are experienced. Our architecture anchors itself in different contexts and that forces us to evolve. What is currently being discussed are just moments of particular urgencies and preferences; they come and go. But we have so many ongoing issues. Right now, we may be focusing more on being sensitive to the environment and being pragmatic. That, of course, influences our work but the language that we use is already established and formed by many forces beyond today's discussion. VB: When asked about what is architecture you said it is an adventure into unknown. It is very poetic. Could you elaborate? JMH: Architecture is a process; it is an adventure, a journey that has many unknowns. What we do as architects is not trying to create a product but to arrive at a point of discovery. Even after many years of designing buildings we want to be surprised and let the process lead us to a particular proposal. We trust and yet constantly question our process. However, at the beginning we don't know what the outcome will be. VB: What is a good building for you? JMH: A good building redefines a place. A good building brings a new vision. It also offers comfort but, at the same time, it challenges our expectations. It is a building that incorporates innovation culturally, socially, and technologically. And it is a kind of building that can be adapted, transformed, or entirely changed in the future without loosing its very own characteristics.  Sarpi Border Checkpoint / Jürgen Mayer. Image © Jesko Malkolm Johnsson-Zahn VB: Can you name one such building built in the last decade or so anywhere in the world? JMH: The 1111 Lincoln Road garage in Miami by Herzog & de Meuron [2010] falls into that category. In our imagination, its openness and skeletal character allows for actual or fictional future transformations. It remains under-defined and yet, it is so specific that you won´t forget it after you have seen it once. And it activated its urban context. Our design for the Sarpi Border Checkpoint [2011] at the Georgian-Turkey border on the shore of the Black Sea has similar potential. It is the articulation of a very different way of looking at a typical border station, which we conceived not as a separation line between two countries, but rather as a meeting place between two nations and two peoples, and open for many programmatic options to evolve, including a popular summer beach destination. VB: Speaking of your work you often use such words as potential discoveries, inventive social changes, critique and discourse, patterns, metaphors, and spatial conditions. What other single words would you choose to describe your architecture? JMH: Identities, cultural sensibilities, communication and collaboration, transferability and economy. VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985(TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries. Belogolovsky's column, City of Ideas, introduces ArchDaily's readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator's upcoming exhibition with the same title which originally premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design.  This posting includes an audio/video/photo media file: Download Now |
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