The theme of the 13th International Architecture Exhibition, Common Ground, seems particularly apposite in describing the sense of rapport and relationship that is one of Italy’s primary characteristics in the development of cultural research and inquiry. This relationship has always been attained through reference to and an exchange between not only the purview of the contemporary, but also the past and our always compellingly tangible history.
The Austrian Pavilion for the 2012 Venice Biennale is a collaboration of Wolfgang Tschapeller, Rens Veltman and Martin Perktold, a team that consists of interdisciplinary fields of study, thought and action from architecture and art. The contribution, entitled “Hands have no tears to flow. Reports from / without Architecture” invites visitors to comprehend architecture as a social and cultural phenomenon and to experience it from different perspectives and views. It explores this year’s theme, Common Ground, with a discourse on the sociopolitical function of architecture. The exhibit will be on view at the Biennale until November 25th.
The limits of my language mean the limits of my world. - Ludwig Wittgenstein, 1921)
The limits of our minds are reflected by the limiting capacity of our language. All the world we know is shaped by our external circumstances, which can be expressed through thoughts and outward expressions – our voices. The voice is typically regarded as a vocal manifestation; but it can also be visual and literal.
Studio Gang Architects and Kalamazoo College have announced plans to break ground October 9, at 4PM, on a new campus building to house the Arcus Center for Social Justice Leadership in southwest Michigan. The 10,000 square foot, wood masonry center will be the world’s first purpose-built structure for social justice leadership development, integrating a study, meeting, and event space where students, faculty, visiting scholars, social justice leaders, and members of the public will come together to engage in conversation and activities aimed at creating a more just world.
Set to be completed in Fall 2013, the Arcus Center is targeting LEED Gold certification. Continue after the break to learn more.
Architects: Spaceworkers Location: Penafiel, Porto, Portugal Architects In Charge: Henrique Marques, Rui Dinis Collaborators: Sérgio Rocha, Rui Miguel, Rui Rodrigues Project Year: 2012 Photographs: João Morgado Fotografia de Arquitectura
An international jury has selected Capital Cities Planning Group (CCPG), an Anglo-American team including Gillespies, John Thompson & Partners and Buro Happold, as winners for the design and planning of the new Federal District in Moscow.
Earlier this year, the Russian Federal Government announced that it was doubling the territory of Moscow to enable it to grow into a competitive 21st century world capital. In response, Genplan, Moscow’s city planner, earmarked an area of 155km2 to the south-west of the city for a new Federal Government Centre, aiming to relieve inner-city congestion through the relocation of the capital’s major employer. Ten international teams were invited to develop strategies and designs for the region during a six month, three stage competition. Continue reading to learn more.
Is resistance possible? Log 25, guest edited by French architect Francois Roche, urges us to Reclaim Resistance — to merge refusal and vitality into a schizophrenic logic able to navigate the antagonism between the bottom-up and top-down conditions of the globalized world. Architects and artists, theorists and philosophers, engineers and programmers drift between strategies of emergence, computation, and robotic fabrication, delineating new tactics and tools for renegotiating mechanisms of power and unsettling architectural conventions.
The current fascination with the ‘reconstruction’ of the architect comes as a direct response to the turbulent forces reshaping global contemporary culture. This unsettling of the professional stability of architecture for most of the past century has forced many architects to question the motivations and assumptions upon which the profession and its practice have been constructed.
Architects: Artau Architecture Location: Stavelot, Belgium Project Year: 2008 Photographs: Courtesy of Artau Architecture
Taking place at SCI-Arc on Friday, September 14th from 7-9pm, Alexis Rochas and Eric Owen Moss will be discussing STEREO.BOT, a library gallery installation that documents the realization of the Coachella Gateway Pavilion, the largest customized structure in the US. Featuring interactive 3D projection mapping content, it was designed and built by design faculty, Alexis Rochas of I/O for the 2012 Coachella Music Festival in Indio, California. The exhibition in the SCI-Arc library features dynamic architectural models, 3D mapping projections and documentary material that follows the development of the project from inception to realization. For more information, please visit here.
Taking place September 29-30, Data Lab is a two-day workshop, put on my modeLab in Brooklyn, on advanced topics and data structures in Grasshopper for Rhinoceros. In a fast-paced and hands-on learning environment, they will cover the fundamental concepts of data structures as well as strategies for working with lists, sequences, and data trees in the newly released version of Grasshoppper 0.9. They will engage a series of design problems which highlight the limitations of standard parametric design workflows and serve as catalysts for discussions related to best practices, linear versus non-linear design processes, and the re-use of files. Each design problem will require either the specific use and manipulation of data structures or the extension of Grasshopper through add-ons. For more information, please visit here.
The AIA California Council Residential Design Awards 2012 competition will recognize the best in residential architecture and design in the state of California. The competition will highlight residential projects constructed in the state, and architects and firms who shape the landscape of architecture and design throughout the state and beyond. Entry is open to both members and nonmembers with projects in California or, California architects who have completed work elsewhere. Eligible projects include those completed after January 1, 2007. The deadline for submissions is September 19. For more detailed information, please visit here.
The Luxembourg Pavilion for the 2012 Venice Biennale, entitled Futura Bold? Post-City: Considering the Luxembourg case, is a speculative exploration of the future issues that cities of the 21st century will be facing. Using Luxembourg as a case study, Post-City seeks an attitude toward the forces of the urban environment instead of concluding with an urban proposal. Post-City poses pertinent questions that arise from Luxembourg’s urban conditions today. Posed as a platform for discussion, the pavilion will be on view at the Ca’ del Duca as part of the 2012 Venice Biennale until November 25th.
Join us after the break for more on this project.
Contemporary Athens is a city of strong contradictions: It is a city whose particular identity was shaped during post-World-War-II reconstruction. A city which has at its disposal an exceptionally talented cadre of young architects, international in orientation, well educated and with a wealth of professional experience. It is, however, the city that was most stricken by the current economic crisis. Currently the Athenian urban space is decomposing and there are increasingly frequent and greater disruptions of the social web. The younger generation of architects benefited from the positive aspects of globalization and today has come face-to-face with the harsh aspect of the global financial crisis, a plummeting standard of living and the need to redefine the priorities of architectural design.
These contradictions are shaping a particular dynamic in the city. Conditions are being created in Athens to expand the links between architecture and the city, both during the economic downturn, but also after it has passed; furthermore conditions are being created to bring to the forefront new ways of viewing the role of architecture, removed from the standards of well-being of the previous decade.
The Greek participation presents this idiosyncratic Athenian urbanism within two themes.
Architects: ARCO Arquitectura Contemporánea Location: México D.F., Mexico Design Team: José Lew Kirsch, Bernardo Lew Kirsch Project Year: 2011 Photographs: Jaime Navarro
Deborah Berke, a New York City-based architect known for her design excellence, scholarly achievement and commitment to moving the practice of architecture forward in innovative ways, was selected as the first recipient of the University of California, Berkeley’s College of Environmental Design (CED) inaugural 2012 Berkeley-Rupp Architecture Professorship and Prize.
The Berkeley-Rupp Prize will be awarded biannually to a distinguished practitioner or academic who has made a significant contribution to promoting the advancement of women in the field of architecture, and whose work emphasizes a commitment to sustainability and the community.
The announcement was made by Jennifer Wolch, William W. Wurster Dean of the College of Environmental Design. Continue reading for the complete press release.
United Airlines Flight 93 was one of the four planes hijacked during the September 11, 2001, attacks in the United States. It was on this flight that 40 passengers and crew members courageously gave their lives to thwart a planned attack on the Nation’s Capital. Tragically, the plane crashed in Western Pennsylvania with no survivors.
To honor these heroes, Congress passed the Flight 93 National Memorial Act in 2002 and launched a two-stage, international design competition in 2005. A Jury of planners, landscape architects, architects, designers, government representatives, family members and community representatives chose Paul and Milena Murdoch’s proposal, which treated the 2,200 acre former coalmine as a memorialized national park where visitors embark on a sequence of experiences that leads them towards the crash site of Flight 93.
The British Pavilion presents the work of ten architectural teams who travelled the world in search of imaginative responses to universal issues. Venice Takeaway charts their course in Argentina, Brazil, China, Germany, Japan, the Netherlands, Nigeria, Thailand, and the USA, and demonstrates the creative potential of sharing ideas across borders.
The exhibition presents the work of more than twenty-six practicing architects, curators, academics, filmmakers, and writers who were selected by a scientific committee following an open call for ideas.
The World Architecture Festival is around the corner! On October 3rd-5th, hundreds of architects will gather in Singapore for an intense dose of architecture, in the form of panels, lectures, live crits, and more. You can see all the shortlisted projects here.
Yesterday, Michael Kimmelman, the architecture critic for The New York Times, unleashed his anticipated take on this year’s Biennale. Usually, we find ourselves almost perfectly aligned with Kimmelman’s socially-oriented perspective (in fact, we lauded his approach in “The Architect Critic is Dead“); this time, however, we found ourselves almost entirely at his opposite.
In our Editorial, “The Most Political Biennale Yet,” we contend that “Common Ground” represented a stepping stone in the Biennale’s evolution: it revealed an unprecedented engagement with reality and reflected, for the first time in any substantial way, architecture’s movement away from “starchitecture” and towards urbanist solutions. Was it perfect? No. But it was engaged.
However, Kimmelman’s take suggests that all that progress simply wasn’t enough. In fact, the exhibits we cite as evidence of the Biennale’s progress, Kimmelman cites as exceptions in a festival still overly obsessed with architecture’s big names.
What do you think? Was this Biennale very political, or not political enough? Was Kimmelman too harsh? Were we too forgiving? Or are we both off-base? Read on for a few select quotes from our Op-Eds, and give us your opinion in the comments below.
The subject of the grands ensembles (housing complexes) selected for the French Pavilion is a good example of the ambivalence of an architect’s role, which is often decried; once, the urban environment of towers and large housing complexes was even blamed for social unrest in the “schemes”, also known as “estates” or “projects”. On the contrary, the challenge raised by this exhibition aims to show that contemporary architects have things to say about the “suburban crisis,” by working on “transformation” rather than just “repairs”.
Designed by a team of graduate students, including Tabitha Nzilani, Obare Joash, Lomole Daniel, and Kuria Eric, their second prize winning proposal in the Kenya Judicial Architectural competition embraces the people coming to seek justice. The project invites visitors in through the adoption of a semi-circular form, which is inward curving to the entrance, and vertical elements which are also receding inwards. Anchoring on a central core that has two wings, these wings are representative of the scale of justice: on one side being the law and on the other the deed. More images and architects’ description after the break.
