Architect and photographer Romullo Fontenelle of FLAGRANTE studio shared with ArchDaily a series of photographs from the recently inaugurated Japan House Sao Paulo, a project by Kengo Kuma in partnership with the local office FGMF Arquitetos.
The global initiative by the Japanese Government aims to "create a vision of contemporary Japan." Opened May 2018, Japan House combines art, technology, and business to offer an escape to present day Japan.
This article was originally published on CommonEdge as "Was Modernism Really International? A New History Says No."
I taught architectural history in two schools of architecture during the 1980s and 1990s. Back then it was common for students to get a full three-semester course that began with Antiquity and ended with Modernism, with a nod to later twentieth-century architecture. My text for the middle section was Spiro Kostof’s magisterial History of Architecture: Settings and Rituals. With many centuries to cover, he spent very little effort in dealing with the twentieth century. In the last third of the course, students read texts such as Towards a New Architecture by Le Corbusier and Reyner Banham’s Theory and Design in the First Machine Age. My colleagues and I felt that we offered students a pluralistic and comprehensive review of key developments in the history of the built environment.
At IE School of Architecture and Design, we know that the world of work is changing so fast that we cannot always keep up. Industry disruptors, such as emerging technologies, are unsettling the setup of the traditional office. Workforce demands, the ongoing talent war, and the threat of job replacement by AI all contribute to a workforce under tremendous pressure, creating new dynamics at work.
Johnston Marklee has rapidly become one of the US’ most exciting practices. After years of completing sensitive and complex domestic-scaled works in Los Angeles, the office vaulted to prominence after being selected to curate Chicago’s 2017 architecture biennial. Since then they’ve completed and embarked on numerous significant projects - none more so than the Menil Drawing Institute.
This article was originally published on Metropolis Magazine as "Opinion: We Can't Go on Teaching the Same History of Architecture as Before."
Architectural students of my generation—the last of the baby boomers, starting college in Europe or in the Americas in the late 1970s—had many good reasons to cherish architectural history. Everyone seemed to agree at the time that the Modernist project was conspicuously failing. Late Modernist monsters were then wreaking havoc on cities and lands around the world, and the most immediate, knee-jerk reaction against what many then saw as an ongoing catastrophe was to try and bring back all that 20th-century high Modernism had kicked out of design culture: history, for a start. I drew my first Doric capital, circa 1979, in a design studio, not in a history class (and my tutor immediately ordered me to scrape it, which I did).
Mexico is a country known globally for its traditional and contemporary architectural elements. The construction techniques characteristic of each region and the use of materials according to thermic, economic, or aesthetic needs result in unique spaces.
Bamboo as a constructive or decorative element, coating, facade, or roof has proven its superiority over materials such as plastic and steel.
While it is true that research on this material has advanced significantly in recent years, we know that there is still much to learn. Many architects are seeking knowledge from the past to apply to their current techniques. Below, we've selected a list of 8 Mexican projects that explore the use of bamboo in the hands of architects and artisans.
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Architecture as a profession today struggles with questions of relevance, with core questions surrounding the issue of whether it can create cultural vibrancy and meaning for the diverse world it serves. Within our own design community, we tend to give a lot of sway to an “exclusive tier” of architects who provide leadership and vision. While this leadership is critically important to the profession, it only corresponds to 2% of what gets built. Take it from Frank Gehry, whose 2014 comment still rings in our ears: “98% of everything that is built and designed today is pure sh*t. There is no sense of design, no respect for humanity."
If we embrace the importance and unique value of all things built on a wider range, we need to ask ourselves: how have we served and rewarded our peers responsible for creating this other 98%? Where should we set the bar for the emotional-artistic qualities of mainstream architecture?
Inverted king post trusses are made of steel bars and cables used to reduce bending, deformation, and a trusses’ height. In other words, they are a collection of continuous beams (steel or wood) and steel cables that are positioned under the beam, supported by an upright king post. Although slender, they are suited for large spans and have small sections.
This article was originally published on CommonEdge as "The Kids are Alright."
Economics and technology affect every profession. But since World War II perhaps no profession has experienced more technological change than architecture. These shifts occurred, paradoxically, within a well-established professional model of personal development: The guild structure of learning in the academy, then becoming professional via internship leading to licensure, has been the structure of practice for almost two centuries.
Once upon a time manual drafting with graphite or ink was applied by white males, and a single sheet master was reproduced with typed specifications added, and buildings were constructed.
That world no longer exists.
In the planning and construction of buildings and landscapes, it’s important to recognize the strong correlation between design and construction during the different stages of a project. In fact, these stages can best be viewed as an integrated process where one won’t work without the other.
To fully understand how these stages work together, let’s break it down. Simply put, architecture design is the process of creating the layout of a construction project. It’s usually presented through detailed plans, drawings, and specifications. On the other hand, construction planning is a process of identifying steps and resources required to turn those designs into physical reality.
Alain de Botton’s Living Architecture project - a joyful, democratically-minded concept to share quality architecture in the UK - was borne out of personal crisis. The Swiss-born philosopher and author gained fame in both popular and architectural circles following the release of his book, "The Architecture of Happiness."
The book was immediately successful (movie buffs may recall its brief cameo in the 2009 film 500 Days of Summer), but the response unsettled Botton. “...However pleasing it is two write a book about an issue one feels passionately about," he explained to Assemble Papers, "the truth is that - a few exceptions aside - books don’t change anything. I realized that if I cared so much about architecture, writing was a coward’s way out; the real challenge was to build.”
When you see new software that can speed up your workflow, it’s fun to imagine what you can do with it. But in reality, many of us don’t want to be among the first to try it out, especially if documentation is lacking. No one wants to spend countless hours fighting with mysterious features only to go back to the old workflow because you just need to get things done.
Maybe you’ve been thinking about trying out photoreal real-time rendering for your workflow, but you’re concerned that that on-ramp is too steep. Real-time rendering requires you to import your CAD scene into a game engine, and anytime you import to a new piece of software, there are going to be issues to solve. If you have to figure it out on your own, it’s going to be a long, hard road.
JP Morgan Chase announced this week that they had hired Foster + Partners to design their new global headquarters in New York. The project, located in midtown Manhattan, will replace the existing 1960s SOM design for the US investment bank.
This is not the first time Foster + Partners have been called in to handle a corporate headquarters project: the office is also responsible for the designs of the nearby Hearst Tower, Apple’s Campus in Silicon Valley, and the Stirling Prize-winning Bloomberg HQ in London.
Concrete may be the material most associated with modern Brazilian architecture; high resistance to compression and, when armed, capable of assuming various forms. Its plasticity has made it a favorite material for some of Brazil's most expressive architects of the last century.
Today, it is still widely explored in the architectural production of Brazil, either for its structural robustness, ease of maintenance, or aesthetic value.
While most architects are remembered for a monumental structure or commission, many of the most prolific names in the field at one point or another set their sights on designing the entirety of a city. Often venturing abroad to see their aesthetic vision come to life across unfamiliar territory (and often, an unsuspecting populace), city planning posed the perfect opportunity to realize one’s architectural doctrine across unimaginable scales. Below, brush up on some of the biggest ventures into urban planning. Whether these plans failed or came to fruition, they ultimately function as crucial insights into the consequences of an outsider defining sense of place and space for a foreign audience for generations.
This interview was originally published on Common Edge as "Mark Lamster on His New Biography of Philip Johnson."
Philip Johnson lived a long and extraordinarily eventful life. He was an architect, a museum curator, a tastemaker, a kingmaker, a schemer, an exceptionally vivid cultural presence. Mark Lamster, architecture critic of the Dallas Morning News and Harvard Loeb Fellowship recipient, has now written a thoroughly engaging biography of him entitled, Philip Johnson, Architect of the Modern Century: The Man in the Glass House. I talked to Lamster two weeks ago about the book and the bundle of contradictions that was Philip Johnson.
During the second half of the twentieth century, architects all over the world, specifically from Europe, produced a legacy of renowned, modern works in Brazil. Following the principles of masters such as Le Corbusier, names like Lina Bo Bardi, Hans Broos, and Franz Heep held an undeniable influence on Brazilian architecture.
In recent years, the country has been welcoming a variety of buildings designed by foreign architects. Below, we have compiled 10 iconic works by international architects.
This article was originally published on ArchDaily on 13 February 2018.
The City of Toronto has a long, fraught relationship with development and vacancy. The map of the initial Toronto Purchase of 1787 between the Mississaugas of the New Credit First Nation and the British Crown, which would later establish the colonial territory that became Toronto, conceives of the landscape as a single, clearly defined vacant lot anxious for development. Or, as artist Luis Jacob better described it, “signifying nothing but an empty page waiting to be inscribed at will.” Over two-hundred years later, as housing availability, prices, and rental shortages drive vertical condominium developments in the city, the politics of the vacant lot have never felt so palpable.
A team of five University of Hartford Master of Architecture (MArch) students recently won the Dream Green, Hartford EcoDesign competition sponsored by the Connecticut Institute for Resilience and Climate Adaptation and hosted by the City of Hartford Mayor’s Office of Sustainability. The competition requested proposals to improve the city through “pop-up” projects that transform underused city spaces while highlighting green infrastructure and sustainable design.
The work of an architect and urban planner can take on many forms thanks to the diverse curricular composition of most graduate courses, with subjects that deal with designing in different scales and contexts. From great urban plans to home renovations, and the metropolis to furniture design, these branches deal with different objects, however, all in common are the use of drawing and models as a tool for representation.
Whatever the project may be, drawing is the way to represent reality, ideas, speculations, and conceptions. Scale, a factor that establishes the level of reading one must make of these representations, determines the link between the real world and the dimensions of the drawing or model. For instance, the scale 1:1 is also known as “full size.”
Austrian-born architect Victor Gruen is perhaps best known for pioneering the design of the American mall typology. His visions for these spaces sought to incorporate various aspects of the city into a single enclosed or indoor space, with a particular focus on consumption and commercial activity. His sprawling designs functioned as the perfect complement to America’s burgeoning leisure-driven consumer culture as a booming economy and an increase in car travel reinforced the possibilities of this new postwar way of life. Perhaps lesser-known, however, is Gruen’s commission from the Iranian government to design an urban plan for the city of Tehran in the late 1960s.
Allied Works has, since their founding in 1994, become known for their portfolio of delicately balanced and civic-minded works. Their Clyfford Still Museum in Denver has in particular been recognized in numerous awards and publications - but may perhaps be overshadowed by their most recent built work.
The National Veterans Memorial and Museum, located in Columbus, Ohio elevates what might have been a staid and somber program into a public space with an urban outlook. The museum, composed of intersecting white concrete bands, opens onto a lustrous landscape (designed by OLIN) and connects the formerly neglected riverfront to the small city’s downtown.
Lumion has always set out to define what rendering should be: fast and stress-free with exceptional results. Now, with the latest version of its 3D rendering software, Lumion 9, it’s easier than ever to show off your 3D models in a living environment, with beautiful, real-life skies, an endless variety of landscapes, and exceptional lighting and materials. Oh, and rendering takes minutes, not hours.
The following is an excerpt from Andrew Levitt's recent book "Listening to Design: A Guide to the Creative Process."
Listening fully without any desire to judge or cause change can open the most stubbornly shut door. With deeper listening, the desire to change or judge the other person disappears and is replaced by a willingness to just be present. At first I worried that listening was not enough, but eventually I learned that the process of creativity hinges on the ability to listen. We need to get into the habit of recognizing the authenticity of our inner voices. By hearing that voice without judgement, we can access all kinds of riches. All the ideas in the world won’t help you if they fall on deaf ears. When we get an idea, there are so many ways of ignoring or sabotaging it. Staying true to the inner command is the holy moment of design. But listening is the key to successful collaboration and feedback.
__by_Karl_Henrik_Nostvik__1967-1973._Image_%C2%A9_Iwan_Baan__.jpg?1542624862 "© Iwan Baan")
__by_Henri_Chomette_and_Roland_Depret__1973-1978._Image_%C2%A9_Iwan_Baan__.jpg?1542624833 "© Iwan Baan")
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.jpg?1540844392 "Skjern / Johansen Skovsted Arkitekter River Pumping Stations. Courtesy of Johansen Skovsted Arkitekter")
