Arch Daily |
- Rassvet Loft Renovation / DNK ag
- Marina de Empresas / ERRE arquitectura
- (Not Area)16# Xiaochaye Hutong / Beijing Qingzhu Architecture Design
- AD Classics: Austrian Cultural Forum / Raimund Abraham
- MQ Studio / CAA
- Spire Residences / John Wardle Architects
- CASAJUVE / Gonzalo Mardones V Arquitectos
- Le Corbusier’s Restored Parisian Apartment Opened to the Public
- Liverpool Paseo Queretaro Facade / Miguel de la Torre
- Brazilian Houses: 15 Steel Projects in Plan and Section
- In Conversation With Marc Neveu, Executive Editor of the Journal of Architectural Education, On Practice, Pedagogy, And Diversity
| Rassvet Loft Renovation / DNK ag Posted: 27 Oct 2018 10:00 PM PDT  © Ilya Ivanov
 © Ilya Ivanov Text description provided by the architects. Rassvet LOFT*STUDIO is situated at the central district of Moscow. It occupies the territory of the former furniture factory owned by famous Mur&Mereliz trading house (now TsUM — Central Universal Department Store). During the soviet times mechanical engineering plant 'Rassvet' (The Dawn) was situated at this plot. It's connected with the names of outstanding aircraft designers Sergey Korolev and Semyon Lavochkin. Nowadays all the territory is a high-density development that represents different architectural stiles reflecting the history of all 20th century.  © Ilya Ivanov  Context  © Ilya Ivanov Our project was made to open all the territory to the urban space and to integrate industrial development into urban living environment maintaining the genius loci of the historical place. Image of the project was inspired by architectural surroundings: main building of Mur&Mereliz factory, designed by famous architect Roman Klein (he is also the author of The Pushkin State Museum of Fine Arts and TsUM building); the biggest in Russia Neogothic Catholic Cathedral made of red bricks and ornamental Shchukin's manor buildings built in Russian Revival style at the end of 19th century (nowadays the manor with the park is occupied by Timiryazev State Biological Museum).  © Ilya Ivanov The first aim was to convert factory building built of pre-fabricated concrete blocks at the end of 20th century into contemporary apartment building. A top-heavy concrete structure with tiny windows disharmonized with the environment and was absolutely unsuitable for living. So we decide to incorporate into massive rectangular frame some small, surroundings-scaled volumes, which were more friendly for the residential development.  Scheme 02 Concrete panels on the facade were replaced with the brickwork. And the facade itself was visually divided to a few volumes, recalling some old medieval houses. Every volume has its own distinctive appearance: different ornaments of brickwork, different windows casing (with or without brick frames) and different balconies (protruding balconies, french balconies, recessed balconies). For another thing, west and east facades have different width, proportions and windows quantity.  © Ilya Ivanov Each of this facade volumes houses one apartment. We kept the internal frame of the building but added attics into six meters high stories, thus four stories have two-level apartments with two tiers of windows. There is a mansard on upper floor and a car parking at the existing basement. Ground floor apartments have separate entrances and small green terraces. Terraces were raised to rich the ground floor level and were separated from a driveway with special supporting wall, so private and public areas are clearly marked off.  Scheme 01 Sun circle is the logotype of Rassvet LOFT*STUDIO and it was used in the design of the central entrance area. Ribby canopy with a skylight throws a shadow on the wall and this «striped plash» moves along the facade with the sun. The same theme was used at night illumination. And the same circle of light in tambour is made by pendant lighting fixture.  © Ilya Ivanov Our work was continued with renovation of neighboring tumble-down maintenance building next to the museum park. We transformed it into typology quite unusual for the center of Moscow. Low-rise building it comprised of townhouses with one-, two- and three-level apartments. Some of them have separate entrances and front gardens. Mansards have double-height spaces and spacious terraces. And there is also an under-roof parking at the ground level.  © Ilya Ivanov This building had quite complicated composition with courtyards that is why we add high pitched roof with frontons and active lucarnes. We used hand-formed clinker bricks at the facades to reecho redbrick architecture of the museum's historical building. After all this transformations our building resembles spacious town mansion.  © Ilya Ivanov  This posting includes an audio/video/photo media file: Download Now |
| Marina de Empresas / ERRE arquitectura Posted: 27 Oct 2018 07:00 PM PDT .jpg?1526440365 "© David Frutos") © David Frutos
.jpg?1526440250 "© David Frutos") © David Frutos Text description provided by the architects. Marina de Empresas is located at the port of Valencia, Marina Real Juan Carlos I. More precisely, in the old bases built for the participating teams of the America’s Cup in 2003. .jpg?1526440990 "© David Frutos") © David Frutos
.jpg?1526440345 "© David Frutos") © David Frutos The project is an urban regeneration exercise where 3 of the old bases were transformed. To that end, we introduced the "soul" of the buildings: a circulation piece at the south, with sea views, which works as a great balcony to the Mediterranean and connects two of the three volumes. .jpg?1526440431 "© David Frutos") © David Frutos Due to its proximity to the sea, the main design factor was the use of durable materials resistant to environmental aggressiveness: FRP (Fiber Reinforced Plastic). It is an innovative architectural material but has traditionally been used for the construction of buoys and boats. We gave it a new use to cover the building.  Section .jpg?1526440514 "© David Frutos") © David Frutos  Scheme Regarding the program, we can divide it into two parts: The one from the entrepreneurs’ school EDEM and the one from the business accelerator formed by LANZADERA AND ANGELS. The EDEM volume has only one of the old bases as structure. It required areas for collective use, such as the dining room, the study-library area or the auditorium, located on the ground floor. In the upper floors, F1 and F2, the classrooms are structured around patios allowing them to enjoy the best natural lighting. Privacy and light control during lessons are regulated by vertical slats. .jpg?1526440504 "© David Frutos") © David Frutos  2nd Floor Plan .jpg?1526440927 "© David Frutos") © David Frutos LANZADERA Y ANGELS use two bases to generate the current volume. The access takes place through the union between both structures, as well as the vertical communication of the building. On the ground floor, one can find the auditorium, the dining room, the workshops and a big working area attached to them. In the other two upper floors, we find teamwork areas, illuminated through skylights, and offices for private meetings. .jpg?1526440978 "© David Frutos") © David Frutos Both volumes, the school and the accelerator, are related by the preexisting interstice between the two bases of the America's Cup. It has been given an urban character designed as a space to have a rest. The respective dining rooms are related to this same space creating a common relationship area for different users. .jpg?1526440909 "© David Frutos") © David Frutos Regarding the urban planning, the previous position of the bases did not allow citizens to enjoy this privileged spot. Marina de Empresas invites people to reach the seaside and enjoy it. In front of the building, we designed prefabricated concrete pieces, in modules of 1 and 2 meters, generating a set of displaced volumes that function as benches and large planters which serve as a filter between the building and the city. The sea front is returned to its people. More info about our projects at: .jpg?1526440304 "© David Frutos") © David Frutos  This posting includes an audio/video/photo media file: Download Now |
| (Not Area)16# Xiaochaye Hutong / Beijing Qingzhu Architecture Design Posted: 27 Oct 2018 04:00 PM PDT  Front west side bird eye view. Image © Jun Liu
 Entrance night view. Image © Jun Liu Text description provided by the architects. In the trend of Beijing Hutong renovation, architects have studied and interpreted Hutong Culture from various angles, but few of them achieved productive results in industrialization of renovating Beijing Hutong. In 2016, our architects accepted the challenge researching in this very field. One year later, an industrialization product was successfully developed and soon presented during 2017's Beijing International Design Week. The product was accepted by the citizens, and in the meantime, gained social attention widely during the event.  Living room. Image © Jun Liu The purpose of studying the applicability of assembly housing technology in building renovation is to improve the existing construction methods and to reduce the environmental pressure and various costs in the renewal of the old city so as to provide more choices for the implementation of the inventory planning.  Living room. Image © Jun Liu With Hutong courtyards' outstanding complexity in renovating, we selected a few representatives of the courtyards of single-story houses in the area of Baitasi, Beijing, for assembly upgrading and renovating and achieved excellent results.  Staircase and windows. Image © Jun Liu From the proposal to the completion of the renovation project in 16# xiaochaye hutong , everything was based on research and design, in order to make sure the result of the research could implement in practice.  Living room with sunshine. Image © Jun Liu  Living room void. Image © Jun Liu  Dining room. Image © Jun Liu The construction team is set up by the architects. we preposed the technical difficulties in the design and processing aspects of the solution, ensured the designing and constructing completeness of the project.Excellent design team and technical consultants guaranteed the comfort and practicality of the house.  Staircase. Image © Jun Liu We have come to achieve a package type in process of construction, it adapts to hutong restrictions, in which all scattered one-story houses can be upgraded by the methods in the idea of industrialization.  Kitchen void. Image © Jun Liu After 16# xiaochaye hutong project, we strongly believe that the old houses renovation with assembly technology has already become a complete industrial chain. we are looking forward more companies participating in the transformation of old housing industry practice by our efforts.  Kitchen light. Image © Jun Liu With increasing pressure in environmental protection, market is demanding for higher standards. In metropolises, constant relocation of large construction materials market occurs; labor expenses is rising; materials and construction costs are having the tremendous growth year by year. As a result, in renovation industry, personalized and environmental-friendly practice will cost more. Thus, prefabricated construction is relatively more controllable in cost, the effect on the environment, as well as the craft technology.  Living room. Image © Jun Liu The 16# xiaochaye hutong is a significant and representative project in housing industry. To apply prefabrication technology in renovation, that is, using customized assembly materials provided a new way in both implementations of the city planning and the renovation and upgrading of old cities.  East side of courtyard. Image © Chi Zhang  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Austrian Cultural Forum / Raimund Abraham Posted: 27 Oct 2018 03:00 PM PDT  © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York This article was originally published on May 25, 2015. To read the stories behind other celebrated architecture projects, visit our AD Classics section. The building, completed in 2002, was the product of an international competition won by Abraham ten years prior. As the name suggests, it houses the cultural branch of the Austrian Consulate in New York, a museum-cum-repository curated and overseen by the Austrian Government. For Abraham, who was born in the Austrian town of Lienz in 1933 and later moved to New York, the project prompted a personal, introspective exploration of architecture's embodiment of cultural memory.  The massing of the building is dictated solely by zoning laws and the immediacy of its neighbors. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York ACFNY was one of few opportunities Abraham embraced during his career to translate his visionary ideas into built form. He consistently rejected the modernist axiom that architecture needed to be physically erected in order to exist, defending its expressive and polemical value when communicated through other media. In this sense, he belonged to a distinguished lineage of thinkers whose greatest contributions existed unbuilt in the limitless, ambiguous realm of drawing, carving out a space somewhere between the primeval monumentalism of Ledoux and Lequeu and the hallucinatory futurism of Archigram and Lebbeus Woods. There is an emotional quality that distinguishes his work, at times an apocalyptic appeal to a darker side of human nature, articulated both in his drawings and at ACFNY.  © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York In an interview given shortly before the building's completion, Abraham expounded on this grim aspect of his work, arguing that death "must express itself and its meaning somehow just as do hope or desire." [2] There is undoubtedly an ominous quality to the "guillotine" curtain wall that stares down the 52nd Street passerby. But it is also intensely compelling, attractive even, eliciting an emotional response of intrigue and suspense. In Charles Gwathmey's words, it is "incredibly threatening," but not "in a negative sense. It has the uncompromising presence of an abstract sculpture." [1] .jpg?1431981450 "The director's office that occupies the box-like protrusion on the southern facade. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York") The director's office that occupies the box-like protrusion on the southern facade. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York Despite his preoccupations with the murkier dimensions of the psyche, Abraham still considered himself foremost a functionalist. Approaching the architectural task as a puzzle in need of a solution, he took prescribed site and programmatic parameters as primary determinants of form. The angled southern façade that is now so recognizable was less a product of an expressive gesture than a straightforward reading of the building's legal spatial limits. "The inspiration for the design came completely out of the trivial circumstances of the site, zoning, codes," he later said. "And then other things triggered, unconsciously." [2] This dichotomization of unconscious and conscious impulses allowed him to reconcile the competing demands of his task; moreover, for him, psychoanalytic self-awareness was the only way to achieve such an evocative design. "If I had planned to make a totem, a piece of memory, the building would not have the same strength." [2] Functionalism, more a method than an end, became a gateway to eliciting architectural desire. .jpg?1431981530 "View from the sixth floor looking out toward 52nd Street. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York") View from the sixth floor looking out toward 52nd Street. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York In the minute 25 x 81 foot plot, Abraham places the various programmatic requirements atop one another: galleries, a theater, a library, administrative offices, seminar rooms, and a multi-level apartment for the Forum's director. But rather than diagramming the project as a stack of horizontal slabs, he conceptually organizes the tower into three separate units, each of them vertical: the structural core, the frontispiece shrouded by glass, and the rear egress stairwell. Each of these different zones has unique experiential and functional properties, and Abraham often described the project as three separate towers butted up against one another. [4]  © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York The third of these "towers," the rear stairwell, is independently remarkable if often overlooked. Abraham deploys a design solution native to New York, a pair of "scissor stairs" that criss-cross down the rear of the building without intersecting. As the stairs meet the northernmost wall, they appear to slash through the façade, rhythmically and violently rupturing the envelope and allowing light to pour in. Of the 226 competition entries submitted, Abraham's was the only one that placed the emergency egress at the rear of the building; doing so opened up the fore of the building for programmatic space and allowed the stairs to take on a character of their own. "This solution enabled me to transform an element of sheer utility into a decisive architectonic component." [1]  East-facing section with the "scissor stairs" on the left-hand side In 1996, shortly before construction began, Abraham gave a lecture in Jerusalem in which he described his intentions for the building: "As this tower is a rather small object within the vertical topography of the city of New York, I tried to develop a tectonic vocabulary that would not make the tower rise, but rather the opposite; the point was to make it fall — that falling notion projecting the sense of suspension." [4] This idea drove the project toward a perpetual state of anxious tension, a deliberate trigger of emotional conflict and an appeal to the brooding power of latent memory. [1] Iovine, Julie. "For Austria: A Tribute And Protest." New York Times, 7 Mar. 2002. Last accessed 18 May 2015 at http://www.nytimes.com/2002/03/07/garden/for-austria-a-tribute-and-protest.html. [2] Austrian Cultural Forum. "Interview with Raimund Abraham, Architect of the ACFNY." Nov. 2001. Last accessed 18 May 2015 at http://www.acfny.org/the-building/history/raimund-abraham-on-the-acfny/. [3] Grimes, William. "Raimund Abraham, Architect With Vision, Dies at 76." Mar. 6, 2010. Last accessed 18 May 2015 at http://www.nytimes.com/2010/03/06/arts/design/06abraham.html. [4] Abraham, Raimund. Lecture. Published in Technology, Place, and Architecture. Kenneth Frampton, ed. Rizzoli: United States, 1998, pp. 16-29.
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| Posted: 27 Oct 2018 02:00 PM PDT  Interior. Image © Felix Amiss
 Detail. Image © Felix Amiss Text description provided by the architects. The golden flowing river contrasted with soft misty clouds located at Beijing world trade center, a hair salo; MQ studio has been designed and construction completed by CAA at the end of August 2018.  Detail. Image © Zhuoying Ren Located in the Beijing central banking district, surrounded by a multitude of fashion outlets, MQ studio Beijing flagship settles itself within a unique place. Going being all the functional requirements, it is not a hair dressing studio, but an art sculpture exhibited at the hub of the China World Trade Center.  Ceiling_detail. Image © Felix Amiss As one moves closer to this area, cloud images are seen, which are projected onto the glass that envelops the space. These images are superimposed onto the space as a layer and when viewed from outside to in, it creates a sense of infinite possibility and opportunity, which is much associated within the infinite horizons of the sky.  Detail. Image © Zhuoying Ren Rising from clouds, the golden ceiling sculpture provides visitors a powerful visual experience as they pass by, consequently attracting people enter the salon and enjoy this cloud surrounded, sky flowing wonderland.  Detail. Image © Felix Amiss Inside the space, the shimmering ceiling is lifted out of clouds, referencing a golden river soaked in evening sunlight, flowing slowly into the distance. At various points it trickles down like a stalactite to form the vanity mirror used by the hair stylists. The combination of aesthetics and function here is designed seamlessly. The metaphorical clouds become a medium that transfers people from the one dimension to the next, linking the spectator to a new parallel utopia.  Floor plan The floor plan of the salon is an irregular shape, penetrated by four large inclined columns which form part of the buildings concrete superstructure to hold up the 330m height building above.  Ceiling_detail. Image © Felix Amiss The salon is located at a core of the building, and a number of different building service pipes transit the space across the ceiling. The unique structure and the small-scale space produce various design challenges, which founder Liu Haowei decided to try.  Detail. Image © Zhuoying Ren Instead of concealing the industrial building services behind a screen, the design chose to highlight the ceiling part by using a generative design algorithm to create the impressive parametric form which simulates a wave pattern.  Under construction. Image © Felix Amiss Conceptually the ceiling is operating as a wave of water, sparkling under the sunshine. Highly reflective golden stainless steel was applied to make the ceiling, and after studying the reflection properties of the material at different angles, the CAA team aligned each surface accurately to let light bounce and refract at different angles, creating glamor and drama in this house of fashion and style.  Under construction. Image © Felix Amiss Behind the scenes was a large challenge for the construction team. Over 300 different hexagons are all made and installed by hands.  Ceiling_detail. Image © Felix Amiss The general soldering method is not possible due to the material delicate properties. The design team and the construction team spent several months of time to develop the best solution and to make the final installation of the interior art piece possible.  Ceiling_detail. Image © Zhuoying Ren In the heart of the hustle and bustle of the Beijing business CBD, this golden river flows above the clouds and becomes a secret place created by CAA, leaving a special impression that adds another great experience to the Chinese capital.  Exterior. Image © Felix Amiss  This posting includes an audio/video/photo media file: Download Now |
| Spire Residences / John Wardle Architects Posted: 27 Oct 2018 12:00 PM PDT  © Christopher Frederick Jones
 © Christopher Frederick Jones Text description provided by the architects. This dynamic residential tower defines the northern gateway of Brisbane's commercial district.  © Christopher Frederick Jones The tower speaks two languages, one at street level to its cultural heritage neighbours for vibrant street activity and another, towards its younger and taller companions for centralised city living.  © Christopher Frederick Jones The undulating facade is conceived as a net that expands horizontally in response to the plan curves, privacy, sun shading and view lines. The staggered net pattern is set at the scale of an apartment occupant whilst framing views.  © Christopher Frederick Jones A brick podium provides an anchor point whilst integrating with the unique Ann Street streetscape of gothic and arts-and-crafts brick structures. From here the curvilinear structure of the tower rises preserving views to the St John's Cathedral spires.  Typical Floor Plan Situated on top of the tower is an infinity edge rooftop pool and private rooftop dining room with expansive views of the city.  © Christopher Frederick Jones  This posting includes an audio/video/photo media file: Download Now |
| CASAJUVE / Gonzalo Mardones V Arquitectos Posted: 27 Oct 2018 06:00 AM PDT  © Nico Saieh
 © Nico Saieh Text description provided by the architects. House CASAJUVE is located in front of the ocean, in the Chilean district of Zapallar. The house sits on the highest point of Beranda Hill. From the hill, one can experience the best views of the sea and external views of the sidewalk and the street that connects Maitencillo with Zapallar.  © Nico Saieh The superposed volume creates a large shaded overlook (5th Facade). Inside, the first floor opens to create a double-height. The barbecue is protected from the south wind and open for views of the pool.  © Nico Saieh Distributed on the top floor are the living room, dining room, kitchen, service area, and principal bedroom. While the children's bedrooms can be found underground (Sixth Facade).  © Nico Saieh  Section 3 y 4  © Nico Saieh The volume is completely made of exposed concrete incorporated with titanium dioxide. The panoramic windows are made of cedar, and all of the doors and frames are made of pine.  © Nico Saieh The incorporation of the vertical and diagonal skylights provide natural light for circulation and enclosures.  © Nico Saieh  This posting includes an audio/video/photo media file: Download Now |
| Le Corbusier’s Restored Parisian Apartment Opened to the Public Posted: 27 Oct 2018 05:00 AM PDT .jpg?1540209301 "© FLC/ADAGP/Mercusot") © FLC/ADAGP/Mercusot The Fondation Le Corbusier has celebrated its 50th anniversary with the unveiling of a restored apartment originally designed by the famous architect. The studio apartment on Nungesser-et-Coli in Paris was designed by Le Corbusier in 1931 for his own habitation and was completed in 1934. The apartment underwent two years of restoration following its listing as a classified world heritage site in 2016 and is now open to the public. .jpg?1540209293 "© FLC/ADAGP/Mercusot") © FLC/ADAGP/Mercusot Since its founding in 1968, the Fondation Le Corbusier has been devoted to "the conservation, knowledge, and dissemination of Le Corbusier's work" through opening schemes to the public, conserving architectural works, seeking world heritage status, curating exhibitions, publications, and providing financial support for research relating to the architect. .jpg?1540209287 "© FLC/ADAGP/Mercusot") © FLC/ADAGP/Mercusot In celebrating its 50th anniversary, the foundation has unveiled the completed renovation of Le Corbusier's Nungesser-et-Coli apartment in Paris. Designed in 1931, the apartment was Le Corbusier's home from 1934 to his death in 1965. Located at the top of the vibrant Molitor building, the 240-square-meter apartment offers views across Boulogne and Paris. Having achieved classified world heritage status in 2016, the foundation treated the apartment to two years of careful restoration, mostly improving thermal conditions, replacing degraded materials, restoring the polychromy décor, and curating archives and documents.  © FLC/ADAGP The apartment is now open to the public on Mondays, Tuesdays, and Saturdays at 24, rue Nungesser et Coli, 75016, Paris. Reservations can be made on the foundation's official website here. Last week, we published an AD Classics edition of Le Corbusier's celebrated Venice Hospital proposal from 1965. News via: Fondation Le Corbusier  This posting includes an audio/video/photo media file: Download Now |
| Liverpool Paseo Queretaro Facade / Miguel de la Torre Posted: 27 Oct 2018 02:00 AM PDT  © Jaime Navarro
 © Jaime Navarro Text description provided by the architects. The Project is located at Paseo Querétaro Shopping Center, in the city of Santiago de Querétaro, México.  Module  East Facade  Constructive Detail The facade is made of a grid of triangular modules with flat and low-relief pieces, which form an eccentric subtracted pyramid, and when the pieces are rotated allows three possibilities, that combined, a disordered texture is achieved. The intention of this facade is that the different solar illuminations throughout the day generate play of shadows and reflections.  © Jaime Navarro The facade is made of white prefabricated concrete on metal frames.  © Jaime Navarro  This posting includes an audio/video/photo media file: Download Now |
| Brazilian Houses: 15 Steel Projects in Plan and Section Posted: 27 Oct 2018 01:00 AM PDT  Casa Claudios / Arquitetura Nacional. Image © Pedro Kok Metallic elements have been used in architecture and civil construction for hundreds of years, either as decorative elements, coverings or even to reinforce masonry structures. However, it is only in the second half of the eighteenth century that the first bridges emerge whose structure was entirely made of cast iron. A century later, iron was replaced by a more resistant and malleable alloy, still used today in architecture: steel. Denser than concrete, the strength of steel subverts its weight and provides greater stiffness with less material - allowing for lighter and thinner structures than those made from other materials, such as wood or concrete. It is by no means the most used material in residential architecture, however, its use has made it possible to construct some interesting - and beautiful - examples of contemporary houses: JG House / MPGARQUITETURA © Leonardo Finotti  Courtesy of MPGARQUITETURA Claudios House / Arquitetura Nacional © Pedro Kok  Courtesy of Arquitetura Nacional C.J. House / Andrade Morettin Arquitetos Associados © Nelson Kon  Courtesy of Andrade Morettin Arquitetos Associados FS House / Andrade Morettin Arquitetos Associados © Nelson Kon  Courtesy of Andrade Morettin Arquitetos Associados MT House / Telles Arquitetura © André Scarpa  Courtesy of Telles Arquitetura House in Mantiqueira / UNA Arquitetos © Nelson Kon  Courtesy of UNA Arquitetos Casa Delta / Bernardes Arquitetura © Ruy Teixeira  Courtesy of Bernardes Arquitetura LLM House / Obra Arquitetos © Nelson Kon  Courtesy of Obra Arquitetos Casa Jardim do Sol / Hype Studio © Marcelo Donadussi  Courtesy of Hype Studio Mirante House / FGMF Arquitetos © Rafaela Netto  Courtesy of FGMF Arquitetos House in Lauro de Freitas / Jamelo Arquitetura © Vivi Spaco  Courtesy of Jamelo Arquitetura Jardim Paulistano House / GrupoSP © Nelson Kon  Courtesy of GrupoSP ARCA / Atelier Marko Brajovic © Victor Affaro  Courtesy of Atelier Marko Brajovic House Varanda / Carla Juaçaba © Fran Parente  Courtesy of Carla Juaçaba Casa Serrana / João Diniz © Marcílio Gazzinelli  Courtesy of João Diniz  This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 Oct 2018 11:00 PM PDT  For young creatives, curious explorers, or simply multitaskers, The Midnight Charette's weekly podcasts provide a provocative and entertaining take on design and architectural discourse. Hosted by David Lee and Marina Bourderonnet, the segments aim to explore ideas beyond everyday conversation and engage with a multitude of individuals in the design field. In their recent discussion featuring Marc Neveu, the Executive Editor of the Journal of Architectural Education (JAE) and head of the Architecture Program at Arizona State University (ASU), the duo covers a broad range of topics related to professional practice and architectural pedagogies. With the responsibility of publishing the JAE biannually, Neveu shares his opinions on the need for print scholarship in an increasingly digitized world:
As the new Head of the Architecture Program at ASU, Neveu expands upon his plans and goals for this new position and city.
Relating both the blind peer-review process used by JAE and the issues of diversity within the field, Neveu discusses the significance of fostering environments where students and designers can look up to individuals like themselves instead of being limited to the same schools of thought. He states:
To listen to more podcasts, visit The Midnight Charette's website or access their free content on iTunes and Spotify. News via The Midnight Charette  This posting includes an audio/video/photo media file: Download Now |
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