In recent years New York has become famous for an unusual method of bringing green space to the city, the hugely popular “High Line” which reused industrial infrastructure in the creation of a new park. But as unconventional as the High Line is, it’s nothing compared to James Ramsey's of Raad Studio and Dan Barasch’s state-of-the-art proposed counterpart, the subterranean “Lowline." Working alongside others including Signe Nielsen, principal at Matthew Nielsen Landscape Architects, and John Mini, the pair recently opened the Lowline Lab, an environment similar to that of the actual Lowline site that gives the team a space to put their theories and ideas to the test, gather results and make final decisions. I had a chance to catch up with Ramsey and Nielsen to discuss the landscape of their test space.
Over the past 12 months at ArchDaily, we've been working hard to bring our readers more articles that will interest, inspire and aid them, and our most read articles of the year reflect a few trends that have characterized the year. Firstly, they show the success of our attempts to bring our readers’ favorite articles from the past back into the limelight through social media and other means, with 7 of our top 20 articles from the year published earlier than 2015. Secondly - perhaps more obviously - it shows the continuing popularity of lists. And what do we do when 75 percent of our most popular articles of the year are lists and rankings? Why, we make a list of them of course. So put your countdown cap on and keep reading to see our top 20 most read articles of the year - including everything from the world's top 100 universities, to 19 notable former architects, to 22 websites you didn't know would be useful to you.
https://www.archdaily.com/778925/archdailys-top-20-most-read-articles-of-2015AD Editorial Team
Architecture is a subject that takes decades to master. Just look at the field’s consensus masters - it is not uncommon for an architect to work through his or her fifties before receiving widespread acclaim. So it should come as no surprise that architecture schools simply don’t have the time to teach students all there is to know about architecture. School is the place where future architects are given a foundation of skills, knowledge and design sensibility that they can carry with them into their careers - but what exactly that foundation should contain is still a hot debate within the field.
In an attempt to come closer to pinpointing what an education should give you, we asked a group of people with a wide range of experience as students, professionals and teachers - our readers - "what do you wish you had learned in architecture school?"
Star Wars (1977) is more than a film. It’s a worldwide phenomenon. The Star Wars saga is its own universe, and with such distinct characters and mythology, even talking about Star Wars: Episode IV - A New Hope as a standalone film (which is part of such a larger whole) is a fascinating exercise. It’s quite remarkable that for a film that takes place in space, in worlds outside of ours, it still holds up, architecturally.
We’ve all heard the story of the cocktail napkin sketch that inspired a masterwork. Architecture is all about communicating ideas visually, and there is no better way to quickly express an idea than through sketching. But for many students just starting on the path of architecture, the skills to actually create such sketches don't come naturally, and mentors who will take the time to explain such basics can be hard to find.
Geared towards young and aspiring architecture students, a new youtube channel, Themodmin, provides short, free tutorials on how to get the most out of your sketches in their series Architecture Daily Sketches. Covering topics from lineweight to perspective to adding people to your drawings, the videos follow a simple format that is easy to follow. Watch a few of the videos below and head over to their youtube page here for more tutorials.
The resulting conversations from our readers touched on everything from the coherence of London’s future skyline to Will Alsop’s design lineage. Read on to find out what they had to say in the latest installment of our "ArchDaily Readers Debate" series.
How much editing is acceptable in architectural photographs? And what if those edited photographs are the basis of judging a design competition? Chicago Tribune architecture critic Blair Kaminexplored these questions in a recent column after an altered photo led to a Design Excellence Award from the Chicago chapter of the AIA. The building in question, the El Centro campus of Northeastern Illinois University designed by Juan Moreno, was one of five recipients of the chapter's honor award, the highest level of recognition. But one of photos submitted to the award jury had been digitally altered by the photographer to remove a prominent row of large air handling units on the roof that marred one of the best views of the building.
We’ve always been a profession of hackers. Every building is a one-off made up of countless elegant hacks, each bringing disparate materials and systems together into a cohesive whole. But when it comes to the software that designers have come to rely on, most of us have been content with enthusiastic consumerism, eagerly awaiting the next releases from software developers like Autodesk, McNeel (Rhino) and Bentley (MicroStation).
It’s been 5 years since we officially launched our research program at the Yazdani Studio of Cannon Design, and during that period we’ve come to understand the evolution of our process reflects the larger, changing relationship architects have with their means of production. Specifically, we've noticed that in late 2007 something changed. McNeel introduced a visual programming plugin called Grasshopper, and more and more architects began to hack their tools as well as their buildings.
Opened in January 2015, the Philharmonie de Paris was designed by Jean Nouvel, though he later distanced himself from the project. The concert hall, a 2400 seat venue, seeks to "invent a model all its own," according to the Philharmonie de Paris website. It breaks from the pack of concert halls by mathematically creating a more intimate space -- "the distance between conductor and the farthest spectator is only 32 metres (compared to 48 metres at the Salle Pleyel for a smaller audience)." The architect worked with various acoustic experts to "develop a bold system of cantilevered balconies and floating clouds, combining envelopment, intimacy and spaciousness." Here we see the project as photographed by Danica O. Kus. Read on for the full set.
Developed by FilzFelt and Gensler’s LA office, “Link” modular felt panels can be used for a variety of applications, from room partitioning, to shading, to acoustical dampening, to adding textural interest to a wall surface. The panels were designed to tackle a particular design problem at Gensler’s LA office, where red glazed panels acting as an architectural statement to be viewed from the street had been casting a harsh light into the interior conference room space behind. Searching for a flexible, free-form solution, and a soft material to contrast with the hard glass, Gensler designers discovered wool felt. Enter “Link.”
In 2010, following the election of a new mayor, the Moscow city government began to work towards a comfortable urban environment in which citizens would feel like residents rather than mere users of the city. The emphasis was on creating public spaces in which Muscovites could fulfill their potential and feel that the city was their home.
Gorky Park was at the forefront of the changes. During the 1990s, the "Central Park of Culture and Leisure" accumulated a collection of fairground rides and became a sort of amusement park popular principally among visitors from other cities; Muscovites hardly went there. Three years ago, the city government made it their mission to overturn the park's image and bring Moscow's residents back. A full-scale reconstruction and restoration began in spring 2011.
Today, Gorky Park is a new level of urban space – one centered around people and boasting a scrupulously conceived infrastructure. All of the changes were aimed at creating a comfortable environment for life - for strolling and sport, work and study, culture and leisure. Moreover, in a short time the park has developed an effective economic model whereby it receives one half of its budget from the city and generates the other half itself.
It’s a topic that cannot be avoided for any longer. The ongoing Paris Climate Conference has seen an unprecedented amount of participation - even before the summit began, over 150 countries submitted national plans of action to the United Nations - and there seems to now be a global consensus that we must cut back on our energy use and reliance on carbon polluting fossil fuels, or risk causing irreversible damage to our planet. By the end of the conference, an agreement will likely outline energy-reducing strategies by which all countries must abide. For architects, this means fundamentally changing the ways we design buildings and determine their success. Traditional building and construction methods consume large quantities of natural resources and account for a significant portion of the greenhouse gas emissions that affect climate change. In the United States, the building sector accounts for 41 percent of the country’s energy usage, according to the U.S. Green Building Council.
But this information is hardly new, and thankfully, our profession has been preparing for this change for some time. In 2006, the American Institute of Architects became the first adopters of the 2030 challenge, a call for all new buildings, developments, and major renovations to reach carbon-neutrality by 2030, with milestone goals of reduced dependence at 10-year intervals along the way. Each year, the AIA releases a progress report outlining the current standing of energy consumptions and take-aways from their findings. This year’s key conclusion? We must start integrating energy modeling techniques earlier into the design process.
According to one survey, images of the BEST Products Showroom in Houston, Texas, designed by SITE (Sculpture in the Environment), appeared in more books on 20th-century architecture than any other building. The intentionally crumbling brick at that Houston store, known as “Indeterminate Façade,” and the eight other showrooms SITE designed, were simultaneously iconic and controversial, and most importantly for BEST, they brought in customers. Although SITE-founder James Wines never considered himself a Postmodernist architect, his designs for BEST, completed between 1972 and 1984, steeped in whimsical social commentary, came to symbolize the essence of Postmodernism. Today, all but one of the BEST showrooms have been demolished or altered beyond recognition, but they set a lasting precedent, and continue to influence the use of architecture in corporate branding today.
It's become a familiar sight: glossy renderings from big-name architects promoting new luxury condo towers. But in this case the setting is unexpected, rather than New York, Chicago, or Los Angeles, these new towers are cropping up in a gentrifying area of Honolulu known as Kaka'ako, nestled between the resorts of Waikiki, and the Downtown business district. For its latest offering, Ward Village, one part of a massive redevelopment plan for the entire Kaka'ako neighborhood, has enlisted Prizker Prize-winner Richard Meier, and Bohlin Cywinski Jackson (best known for the Fifth Avenue Apple Store in New York), to design iconic towers that will no doubt attract premium prices to match their architects' celebrity cachet. And while most people celebrate the influx of new housing units in a region of limited supply, some may be wondering who these new condos are really for.
Architecture can be built with compressive elements and with tensile elements, but few materials have the ability to be stretched and also retain compressive strength. In a new project from Architectural Association DRL students Soulaf Aburas, Maria Velasquez, Giannis Nikas, and Mattia Santi, one of those materials, Polycaprolactone, a biodegradable polyester, is used to create framework from temporary pavilions and installations. Constructed using programmable robotic arms, the resulting product is a joint-less, self-supporting mono-material that shares a visual similarity to the structure of bones - giving the project its name, Osteobotics.
Cabral examines a model of the tea chapel. Image Courtesy of Gloria Cabral and Peter Zumthor/Rolex Mentor and Protégé Arts Initiative
In May last year, the Rolex Mentors & Protégés initiative announced a surprising partnership in its name: Paraguayan architect Gloria Gabral was to spend a year working alongside the famously elusive Swiss master Peter Zumthor. The differences between the two architects - from the languages they spoke to the age of their respective careers - were obvious from the outset. But as explored in this article by Paul Clemence, originally published by Metropolis Magazine as "Intuitive Connection," over the past year they've been discovering that the things that they have in common run far deeper.
It was an unlikely pair. He is a well-established architect with a long career, working out of a small town tucked deep in the mountainous Graubünden canton in Switzerland; she is at the beginning of a promising career in Asunción, Paraguay’s capital and largest city. They did not even share a common language, yet they connected through something more binding than the spoken word: an intuitive sense of space—and their work ethic.
Earlier today in Shenzhen the 6th Bi-City Biennale of Urbanism/Architecture (UABB) opened its doors to public. Under the overall theme "Re-Living the City," curators Alfredo Brillembourg and Hubert Klumpner of Urban Think Tank headed up the "Radical Urbanism" exhibit in the main venue. Brillembourg and Klumpner invited the exhibition participants to show how we can learn from ad-hoc and "bottom-up" initiatives for alternative urban solutions. In the following essay - originally printed in the UABB 2015 catalogue - the curators call for us to "rethink how we can operate within the city, learn from its emerging intelligence and shap[e] its outcomes to radical and tactical ends."
The notion of a radical urbanism draws us unavoidably into the realm of the political. Imagining a more equitable and sustainable future involves an implicit critique of the spatial and societal conditions produced by prevailing urban logics.[1] As such, we are not only reminded of Le Corbusier’s famous ultimatum, “architecture or revolution,” but its generational echo in Buckminster Fuller’s more catastrophic pronouncement, “utopia or oblivion.”[2] Both were zero-sum scenarios born of overt social disjuncture, whether the deprivations and tensions of the interwar period, or the escalating conflicts and ecological anxiety of the late 1960s. While the wave of experimental "post utopian" practices that emerged in the early 1970s positioned themselves explicitly in opposition to perceived failures of the modern movement, these disparate groups shared a belief – however disenchanted – with their predecessors in the idea that radical difference was possible, as well as a conviction that a break was necessary.
Architecture is in some ways a paradoxical profession. On one hand, it projects a popular image of the lone, creative genius, taking control over all aspects of a building project and forming them to their creative ideals. But in reality, most projects take a huge team of people, all working together to produce a building which usually represents the creative input of not only many different people, but many professions too.
One way to find a balance between these two extremes is to take more creative control over the decisions of the group - in other words, to start your own practice, guided by your creative input alone. But is that goal worth the difficulty it might take to get there? This was the question we had in mind when we asked our readers to let us know the pros and cons of starting your own firm last month. Interestingly, not a single commenter left any response about the joys of working for someone else, and the consensus was firmly that running your own practice is preferable - provided you can deal with the significant problems of doing so. Read on to find out what they had to say.
Without a doubt, it’s among the most famous houses in Los Angeles. The house is easy to describe: a steel framed L-plan, divided into bedrooms and the communal living spaces, all wrapped around a turquoise pool seemingly impossibly poised above the city. But words don’t do it justice. Julius Shulman’s 1960 photograph of Pierre Koenig’s Case Study House 22, perhaps better known as Stahl House, changed the fantasies of a generation.
https://www.archdaily.com/778021/a-virtual-look-into-pierre-koenigs-case-study-house-number-22-the-stahl-houseMadlaina Kalunder and David Tran, Archilogic
In the early days of the architectural profession, teaching and practice were neatly aligned: the elements of the various styles could be taught and put into practice in the field. However in the 20th century, while the business of construction was becoming increasingly technocratic, architectural theory became equally pluralistic and esoteric. Ever since, the dichotomy between architectural education and practice has been a controversial subject. Many in the business say that education fails to prepare students for the real world, while some academics equally contend that architecture schools have given up too much ground to technical considerations, and no longer teach enough important theory.
In the 21st century, that dichotomy is increasingly being bridged by the internet, offering a convenient alternative to universities and practices where architects can teach themselves. With that in mind, we wanted to open a discussion up to our readers: what are the things you wish you learned in school but never had the chance? Was there an element of history and theory that is vital to your understanding of architecture that you only learned after graduation? Or perhaps a technical consideration that you had to learn the hard way?
Candles shaped like icebergs that melt to increase awareness for global warming. Reconstructions of Brutalist playgrounds. Geometric overalls with patterns representing the taste buds. These are just a few of the projects tackled by the young minds selected by Metropolis Magazine as their “7 Designers to Watch.” The list includes architects RAAF, LAB.PRO.FAB and Assemble Studio, alongside furniture designers, industrial designers and a design strategist.
The past two weeks have seen a number of high-profile designs unveiled, including OMA in Manchester, SANAA in Budapest, Libeskind in Vilnius, Foster + Partners in Chicago and two projects involving BIG in Pittsburgh and New York. As ever with such renowned practices scooping up work, opinions flew and in some cases also produced reasoned debate over the new projects. Read on to find out what people had to say about them.
If there’s one thing that can get the architectural community up in arms, it’s the threat of demolition being placed over a much-loved building. Whether it’s a 44-year-old bus station, a 38-year-old hospital, or even a 12-year-old art museum, few other news stories can raise such a sustained outcry. And recently, some have started to turn their eyes toward the next wave of preservation battles: the upcoming crop of Postmodern buildings which are increasingly being placed under threat. But in all of these heated debates about preservation, do people really know what they’re arguing for?
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