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The latest BIM software from GRAPHISOFT was announced recently. ArchiCAD 17 will be shipping soon. The company has also announced an upcoming free online seminar that will familiarize you with all the new features and enhancements to the software.
Scheduled for June 18, the demonstration of ArchiCAD 17 will feature the actual model used to design one of Moscow's most prestigious buildings, the Mosfilmovskaya Street multi-purpose building complex.
All the information after the break.
The work of a Production Designer has many parallels with that of an Architect. Both are tasked with bringing to life a conceptual environment, keeping true to that concept through budgets, time pressures, logistics and regulations. Both share a similar creative process, developing the ideas and then collaborating and coordinating with a team of professionals to give those ideas physical form. However, Production Designers are concerned with creating environments to be captured on film only for a matter of moments. Not something a standard Client is likely to request from an Architect.
While the freedom of not having to fully resolve building details – just making it look that way (not to mention the added bonus of avoiding the inevitable callbacks for defects), may seem appealing, consider having to dismantle everything you have created at the end of the process. Somewhat of an anticlimax you would think.
Not so, says Catherine Martin, veteran Production Designer, two time Academy Award winning Art Director, and the creative force behind the sets and costumes of Baz Lurhmann’s films.
Light matters, a monthly column on light and space, is written by Thomas Schielke. Based in Germany, he is fascinated by architectural lighting, has published numerous articles and co-authored the book „Light Perspectives“.
From early nocturnal studies in a lonely hotel room to transforming a volcano in the world’s biggest landscape art project to, most recently, lighting up the Guggenheim in New York, the American artist James Turrell is driven by his fascination with light. He explores perception for visual experiences where light is not a tool to enable vision but rather something to look at itself.
More Light Matters, after the break…
The Fall is a very visually powerful film. It is the result of a tremendous effort from its director Tarsem Singh, who travelled around the world in order to find the right locations for each scene. It is not only about the diversity of these spaces, but also the way that Singh is able to put all those elements together as part of a massive surrealistic world.
Interiors is an online film and architecture journal, published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors will run an exclusive column for ArchDaily, analyzing and diagramming films in terms of space.
If cinema is a matter of what’s in the frame, David Fincher is an artist who is very much concerned about all four corners of his canvas. In his career, visual effects have always been at the forefront of his films, but his later works have also showcased his level of maturity as a storyteller. In Zodiac (2007), The Social Network (2010) and The Girl with the Dragon Tattoo (2011), visual effects play an integral role in the advancement of the story, as Fincher explores the relationship between visual effects and space.
The spaces we analyzed decrease in size with each film – an entire block in Zodiac, a business establishment in The Social Network and a single room in an apartment in The Girl with the Dragon Tattoo. In each instance, we are dealing with spaces that depend on an effect of some sort.
The Mapdwell Project is a collaborative effort of researchers, academics, and professionals from MIT from a range of fields - design, building technology, engineering, environmental sciences, finance, and computer sciences - to develop a community resource of research-driven and tested information of sustainable practices.
The Sustainable Design Lab at MIT collaborated with design studio MoDE (Modern Development Studio), which designed the online viewer.
The fundamental goal of Mapdwell is to deliver a tool that enables communities to make informed decisions about how to incorporate sustainable practices into their lifestyles through community awareness, and access to information about energy efficiency and smart development.
More details on this tool after the break.
Lebbeus Woods envisaged a world at war. The visionary architect, artist, and educator - who would have turned 73 today - drew cities under duress, buildings in the face of destruction, and landscapes confronting catastrophe. He imagined an underground city connecting divided Berlin, buildings designed for seismic hot zones that could move during earthquakes, and a utopian city that looked like an insect. He didn’t depict the world as it was, he depicted what it might be.
Portland State University’s School of Architecture has announced the launch of its new Center for Public Interest Design, a research center that aims to investigate and utilize the power of design to make social, economic and environmental change in disadvantaged communities worldwide. The Center is the first of its kind in the nation.
What if a movie is filmed in such a minimal way that your only reference is a plan view drawn on the floor. Then you would need to imagine all the missing information in a kind of mental extrusion of physicality. This is the way chosen by the Danish director Lars von Trier to represent a parable occurring in a fictional settlement in Colorado.
I pass by the Eames House almost every day at about 35 mph on my way down to PCH, the sand, the waves, the subterranean tunnels, and the tsunami zone, where LA coughs up its junk on the urban beach, where the Westside comes to its logical conclusion. Sometimes traffic is backed up so far up the hill—this is Los Angeles, after all—that I sit motionless and adjacent where the house should be, but can’t actually see it. I listen to the engine, the radio, the sound of helicopters and leaf blowers. The house is silent somewhere behind a wall of dense tropical flora.
My first actual visit to the house was when I was barely thinking about architecture. In a way it was my introduction to the possibility that someone could do architecture, that it was something one could succeed at. It was optimism on real estate once considered solidly middle class. Improbably light-weight and even painterly, like a Mondrian composition, it sits in a perfectly mundane American yard, like the delicate skeleton of a bird perched over the Pacific.
Belatchew Arkitekter has presented a concept for transforming high-rise towers into power-generating factories. The Swedish firm's proposal involves covering a Stockholm skyscraper with "electricity-generating bristles". The tower in question is Henning Larsen's Söder Torn tower on Södermalm in Stockholm. Belatchew has designed a wind farm that will top the existing building with a 16-story extension, covering the facade with "hairy-looking plastic straws designed to move with the wind".
Join us after the break for more details and images of this proposal.
Zaha Hadid Architects’ Riverside Museum in Glasgow, Scotland, has won the prestigious European Museum of the Year Award (EMYA) for it’s ability to “demonstrate brilliantly how a specialist transport collection can renew its relevance through active engagement with the wider social and universal issues.”
Out of 40 museums from across 21 European countries, the jury agreed unanimously that ZHA’s Riverside Museum fulfilled the EMYA criteria of ‘public quality’ at the highest level.
Free of clutter but filled with light, shadow and sculptural forms, filmmaker Matthew Donaldson takes you inside the minimalist masterpiece that Italian architect Claudio Silvestrin calls home. As part of NOWNESS’ In Residence series, this video sheds light Silvestrin’s “reductive, contemplative, near-ecclesiastical spaces” that can be found across the globe – from Moscow to Majorca, and soon-to-be in Miami, where Silvestrin is currently designing a home from Kanye West that will undoubtedly exhibit many of his signature components.
Among the extensive discussion of Feilden Clegg Bradley's scheme to redesign the Southbank Centre in London, one issue which has sometimes been ignored by the architectural media has been the proposal to relocate the skate park in the under-croft of the Queen Elizabeth Hall to a space beneath the nearby Hungerford bridge.
Unsurprisingly, this decision has sparked a petition which has collected nearly 40,000 signatures to save one of the UK's most famous skating hotspots. We’ve talked about how skaters can teach architects about understanding space before; however, in this instance I would like to examine how skaters as a (sub)cultural entity interact with the city, and how the city can cater to their needs. Though many architects are already in favor of accepting skaters, I hope to explore why the wider community tends to see skating as a problem to be solved, and what this can reveal about the proposal at the Southbank Centre.
Read on to find out more about the peculiar way skaters experience cities
Responding to Director Rem Koolhaas’ theme “Absorbing Modernity: 1914-2014” for the 2014 Venice Architecture Biennale, titled “Fundamentals”, the British Council has launched an open call for exhibition proposals that investigate how an aspect of British architecture has adapted to the condition of modernity during this era.
Originally published on Intercon, Ohioan and Africa-based architect Charles Newman, LEED AP discusses the pitfalls of LEED in rural Africa. Newman, who is currently working for the International Rescue Committee in Bukavu, Democratic Republic of Congo, is dedicated to the integration of sustainability in communities worldwide. Learn more about his work and travels on his blog Afritekt.
While in a small southern town of the Democratic Republic of Congo in mid-2012, a colleague of mine approached me for some guidance on a large health proposal he was putting together. A portion of the grant would be earmarked for the construction of hundreds of clinics across the DR Congo, and he mentioned that the donor would be very interested in “green” building standards. Knowing that I was a LEED Accredited Professional, he began asking how we might be able to incorporate such building standards into the designs for the pending projects. I rattled off some general guidelines such as using local materials – recycled ones if available, incorporating existing infrastructure, natural ventilation, etc. He jotted down a few notes, then began to pry a little deeper. “What about the LEED point system? Could we incorporate that into our strategy?”
My response was frank: “No, not really. LEED doesn’t work here in rural Africa.”
August Kekulé discovered the structure of the benzene ring after having a daydream of the Ouroboros, a famous mythological snake depicted as biting its own tail. Francis Crick figured out the complimentary replication system of DNA when he remembered the process of replicating a sculpture by making an impression of it in plaster, and using it as a mold to make copies. Johannes Keppler attributes his laws of planetary motion to an inspiration from religion: the sun, the stars, and the dark space around them represent the Father, Son, and Holy Ghost respectively.
What’s the point? According to Arthur Koestler, “all decisive events in the history of scientific thought can be described in terms of mental cross-fertilization between different disciplines.” Great discoveries arise not from the isolated hermit working without interference, but from tireless work enlightened by unintentional collisions with an unfamiliar subject. For Kekulé, it was ancient mythology, for Crick, sculpture, and for Keppler, religion.
Creativity and innovation, then, thrive where disciplines collide. And this is true not only for science, but for all subjects. We all have something to learn from one another, and what better place to encourage this cross-fertilization than school?
Keep reading to find out more about how interdisciplinary architecture can foster creativity and collaboration in schools…
There is something soothing, even easy about vernacular architecture. It’s the territorial and spatial equivalent to Muzak. It evades and pre-dates the self-conscious identity of glitzy, cutting-edge architecture we are so familiar with today. There is an innocence to the vernacular. These are the buildings and environments of childhood.
This is apparent in the exhibition, In Focus: Ed Ruscha, currently showing at the J. Paul Getty Museum at the Getty Center in Los Angeles. What captivates about the shots is that they dare to curate buildings that are usually just part of the background. They become objects of curiosity, spectacles, even.
On Tuesday, a sea of green and blue flooded the Fort Lauderdale City Commission chamber to either support or oppose a BIG, $250 million multi-use development planned to infill an industrial gap on the waterfront of Downtown Fort Lauderdale. Although the majority of the crowd seemed to be in favor of the “impressive, innovative and even daring” project, concerns arose regarding the Marina Lofts’ density, height and traffic impact – many of which were appeased by developer Asi Cymbal’s decision to reduce the two 36-story towers to 28, which cut nearly 100 housing units from the project.
Other last ditch opposition efforts regarded the controversial plan to move a giant rain tree that wasn’t within the purview of the board’s review. Despite this, following an hour-long presentation by Cymbal and his staff, the Planning & Zoning board unanimously voted 9-0 in favor of the project.
More after the break…
In Russia, hundreds upon hundreds of buildings are endangered. The work of making sure they don't become extinct? That's in the hands of a tireless few.
One of these crusaders is Natalia Melikova, the author of The Constructivist Project, an on-line web site that seeks to preserve the memory - and hopefully inspire the protection of - Russia's avant-garde architecture. Although it began as her thesis project, it's steadily become one of her life passions. In Melikova's words, "By sharing photographs (my own and others), articles, events, exhibitions, and other resources on the topic of the avant-garde, The Constructivist Project unites common interest and appreciation of Russian art and history and makes it accessible to an international English-speaking audience. This is a way to initiate discussion not only of the perilous situation of Russian avant-garde architecture but also of cultural preservation and urban development in general."
See 10 of Melikova's images, snapshots into a part of Russian history quickly being forgotten, with her descriptions, after the break.
In the early years of the New York City subway system, natural light played a dominant role in the illumination of subterranean spaces. The architecture emphasized a connection to the sky, often through skylights planted in the median of city avenues above — lenses in the concrete sidewalks.
However, it proved extremely difficult to keep the skylights clean, and light eventually stopped passing through. Subway authorities moved toward an almost exclusive reliance on electric lighting. While this allowed for greater flexibility in station design, permitting construction at any location and depth, it also created a sense of disorientation and alienation for some passengers.
For the design of Lower Manhattan's Fulton Center, Arup, in conjunction with design architect Grimshaw sought to reconnect the century-old subway system with the world above.
Read more about this "enlightening" subway station, after the break...
Young entrepreneurs gravitate to places where they can become the founders of a revitalized culture; where land is cheap and available and innovation is uninhibited by a status quo. Detroit, Michigan has become one of those places. The media gives us a portrayal of a wasteland, a post apocalyptic landscape of dilapidated homes and infrastructure. But there is plenty opportunity for start-ups to redefine Detroit's future. That it why young innovators and risk-takers are needed to bring new energy and awaken new markets within the city. A recent article by Chuck Salter for Fast Company identifies six entrepreneurs who have started businesses in Detroit. They vary from grassroots campaigns to inform people of opportunities within the city to small scale enterprises that bring retail and infrastructure to the downtown area and surrounding neighborhoods.
More after the break.
Russia has madly, passionately (and not a little blindly) fallen in love. And, as with any love affair worth its salt, this one will have its fair share of consequences when the honeymoon ends.
The object of Russia’s affection? The good, old-fashioned automobile.
It started fast and has only gotten faster. In 2005, Russia’s auto industry grew 14%; in 2006, 36%; and, in 2007, a whopping 67% - an exponential growth that attracted foreign investors, particularly after 2009, when the country welcomed companies like GM & Ford with open arms. Today, the ninth largest economy in the world is the seventh-largest car market, positioned to surpass Germany as the largest in Europe by 2014.
Nowhere is this love affair more evident, more woven into the city itself, than in Moscow. The city has a reputation (perhaps rivaled only by Beijing’s) for traffic, pollution, and downright hostility to pedestrians. And, ironically, because of its epic congestion, the city continues to expand its highways and parking spaces.
We’ve heard that story before, and we know how it ends - for that matter, so does Moscow. But passion, by nature, is blind - and stopping a love affair in its tracks is far from easy.
Caution: This video may induce vertigo.
As the final segment of the One World Trade Center was hoisted into position – topping the structure out at a patriotic 1,776 feet – Curbed NY captured its journey via a small Go-Pro camera to reveal its fascinating, and somewhat nauseating, view of Manhattan.
While the US rejoices this monumental feat, a debate amongst architects, engineers and city officials lingers on whether or not the 408-foot spire will count towards the One WTC’s overall height and allow it to officially claim its title as the tallest building in the Western Hemisphere. Although the Port Authority argues that the spire doubled as a radio antenna is considered as non-essential telecom equipment and therefore should not be considered as part of the “architectural top”, the Council on Tall Buildings and Urban Habitat will make the final call in October.
