Norwegian-based architecture firm, Snøhetta, has just been announced the winner for the Ordrupgaard competition to design an underground extension to the existing museum in Denmark. In addition to the necessary gallery space to hold the Ordrupgaard’s expanding French collection, Snøhetta’s proposal creates a new solution for landscape and building integration. By adapting existing buildings, and adding landscape elements, the proposal maintains the existing entrance to the building, designed by Zaha Hadid, and creates a circulation new route which the public comfortably flow through as they visit the different exhibition halls. Hadid’s building was originally conceived as a continuous flow of spaces between building, galleries, and gardens, so Snøhetta’s newest addition will build upon such a foundation.

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A few months ago, in a little Bavarian town, far far away, an architect, by the name of Peter Zumthor (you may have heard of him), was asked to design a gate. Zumthor designed a transcendent, transparent structure, and unveiled it to the town. Upon seeing the marvel, the townspeople said it looked like a pair of “Glass Underpants.” And there our story ends.

Your first instinct may be to blame those uncouth Bavarians. But, like Jody Brown did in an excellent blog post, you could also fault Zumthor. Zumthor couldn’t “sell” his gate, because, like many an architect, he speaks “architect,” not “human.”

Roman Mars, on the other hand, is fluent in both. A population geneticist who went to college at age 15, Mars jumped off the science boat to follow his passion: radio. His show on architecture and design, 99% invisible, has become a sleeper hit, earning over $170,000 in a record-breaking Kickstarter campaign.

Its popularity comes down to its story-driven approach, which opens your eyes to the 99% of our reality that goes un-noticed: a building’s unknown history, a detail’s un-obvious purpose, a place’s hidden treasures. Through its stories, 99% invisible lives in the place where the “human” and the “architect” meet.

And, be you architect or nay, it hooks you from the start.

Read our exclusive interview with 99% invisible Producer, Roman Mars, after the break…

Eduardo Souto de Moura’s structure overlooks the old buildings in front of the Arsenale from the waterfront, on the path leading to Alvaro Siza’s structure that we featured yesterday.

This structure is an exploration of material, building systems and language. The facades frame views of these old buildings, reinterpreting the existing landscape, according to the will of the viewer. According to Souto de Moura “geography becomes how we want it to be. This it the great leap of the modern movement, and as a result of postmodernism”.

The installation “reflects the evolving relationship between interior and exterior, the gradual opening up of options, and their dependance and influence on the architectural language”.

More photos after the break:

BOLLES + WILSON recently received an ‘International Architecture Award 2012‘ for their design of a new headquarter for a concrete plant in Erwitte, Germany. The building, which is highlighted by an optimal concrete beam, is a combination of the existing vertical cement silo complimented by a new horizontal administration deck. The deck hovers, cantilevering dramatically over green fields (entrance side) and also symmetrically out over a re-naturalized cement quarry (wildlife protection zone). More images and architects’ description after the break.

Despite unique climate challenges in the city of Keelung, Taiwan, the design for the Joint Office Building and Passenger & Cargo Terminal by de Architekten Cie. is an example of how one can naturally ventilate the building during the winter and shoulder seasons. This ambition reduces the energy consumption of the building dramatically and increases thermal comfort and delight. More images and architects’ description after the break.

The New York Chapter of the National Organization of Minority Architects (nycobaNOMA) will be hosting the ‘Crafting the Interview 3.0′ event, which has been postponed to take place October 13 at FXFOWLE from 11am – 5pm. In order to provide the necessary tools to craft a successful interview, they have planned a Portfolio + Resume Review Day for graduating college students and young professionals seeking feedback on their portfolio. A panel presentation will provide information about the job hunting process and current market trends. The event will offer constructive one-on-one feedback to participants and a panel discussion comprised of professionals representing different sectors of the architectural + design community. To register for the event and for more detailed information, please visit here.

The Nka Foundation has announced a new competition, open to all students and graduates of design, architecture, art, engineering and schools interested in rural community projects in Africa, that is a design-build challenge at the Abetenim Arts Village near Kumasi in the Ashanti Region of Ghana. The 10×10 Shelter Challenge is an on-site competition structured as a “design-build camp for learning-by-doing” in African Architecture. There are no fixed deadlines with 5 available month long periods to sign up, the first beginning this October, 2012.

Join us after the break for more details on this unique competition.

The Brazilian Pavilion brings together two outstanding professionals from two different generations: Lucio Costa (1902-1998) and Marcio Kogan (b. 1953). Costa is the world renowned urban planner who conceived Brasília, the country’s new capital inaugurated in 1960, with public buildings designed by Oscar Niemeyer (b. 1907). Costa was one of the core ideologues of Brazilian modernism and the author of some of the master-pieces of modern Brazilian architecture.

Marcio Kogan, an architect and movie director, stands out in the contemporary scene with major projects both in Brazil and other countries. Costa’s installation Riposatevi -a masterpiece, albeit not familiar to all- will be exhibited. Marcio Kogan has created an original piece for Venice.

“Forty years ago the public cause proved a powerful source of inspiration. Given the numbers of architects that chose to serve it, one might even speak of a common ground. In the age of the ‘starchitect’, the idea of suspending the pursuit of a private practice in favor of a shared ideology seems remote and untenable. In the context of the 2012 Venice Architecture Biennale, this exhibition hopes to provide a small contribution towards finding that common ground once more…” – OMA Partner Reinier de Graaf, August 2012

Throughout Europe in the late 1960s and early 1970s, large public works departments employed architects to design a multitude of public buildings in an effort to serve the public cause. Reinier de Graaf describes this “heyday of public architecture” as “a short-lived, fragile period of naïve optimism – before the brutal rule of the market economy became the common denominator.”

In a time of rapid physical and digital connections the global phenomenon of tourism becomes more and more of a common activity. Tourism brings people from all over the world on a common ground giving them the opportunity to interact with a locality, places, and people. However, the conventional tourist entertainment character and the lack of local interaction alienate the notion of the common ground in most tourist destinations. Resorts, theme-parks, international hotel chains, global market icons, and city guides turned tourism into a travelling monopoly with global rules that are applicable everywhere. Common ground is at stake!

The pavilion was curated by Charis Christodoulou and Spyros Th. Spyrou.

The battle over Pennsylvania’s mid-century Cyclorama Center is nearing an end. Located in the heart of the Gettysburg National Military Park, the concrete and glass cylindrical drum was designed by modernist architect Richard Neutra and completed in 1962 under the ambitious Mission 66 initiative aimed to improve visitor services at national parks.

Controversy surrounding the building’s fate started in 1999, when the National Park Service first announced plans to demolish it. This sparked a raging battle between 20th century architecture supporters and Civil War purists, ultimately leading to the federal court.

However, despite these relentless efforts, the structures fate appears to be dismal.

The Irish Pavilion, designed by heneghan peng architects with the support of Arup, and curated by John McLaughlin, charts a position for Irish architecture in a global culture where the modes of production of architecture are radically altered. Ireland has developed a national culture of architecture derived from local place as a material construct. They now have to evolve our understanding in the light of the globalized nature of economic processes and architectural production which is largely dependent on internationally networked flows of products and data. They have just begun to represent this situation to themselves and others. How should a global architecture be grounded culturally and philosophically? How does it position itself outside of shared national reference points?

A quick glimpse at the upcoming weather for Abu Dhabi will show a week of intense sunshine, temperatures steadily above 100 degrees Fahrenheit with 0% chance of rain. In such extreme weather conditions, even architects listing environmental design as their top priority are up against a tough battle. Never mind that the sand can compromise the structural integrity of the building, the intense heat and glare can render a comfortable indoor environment relatively impossible if not properly addressed. For Abu Dhabi’s newest pair of towers, Aedas Architects have designed a responsive facade which takes cultural cues from the “mashrabiya”, a traditional Islamic lattice shading device.

More about the towers’ shading system after the break.

Currently under construction on the edge of the city of Istanbul, the Alemdag Housing, designed by Baraka Architects, is made up of four building blocks which contain 70 flats, 2 retail units and social facilities. The 6.000 m² plot is situated on the exact interface between the city and the surrounding forest, making this the first characteristic taken into account for the housing complex as an important dynamic. More images and architects’ description after the break.

Commissioned by the Greater London Authority as part of the Wonder series to celebrate the 2012 Olympics and Paralympics, BLOOM, designed and developed by Alisa Andrasek and Jose Sanchez from The Bartlett School of Architecture at UCL, is a crowd sourced garden. Designed in neon pink, which is the official Olympics color, BLOOM is conceptualised as an urban toy, a distributed social game and collective “gardening” experience that seeks the engagement of people in order to construct fuzzy BLOOM formations. More images and architects’ description after the break.

Architects: Schneider & Lengauer Location: Scharten, Austria Project Year: 2008 Photographs: Kurt Hoerbst

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With professional cycling rapidly developing in the state of Sinaloa, Mexico in the last decade, there is an interest in building Culiacan’s new velodrome, as well as incorporating policies that favor cycling as a mode of transportation into the city’s plans for new public spaces. The proposal by BNKR Arquitectura channels this new found enthusiasm for cycling into a single thread that unites a professional sports building with a cycling-oriented park development. More images and architects’ description after the break.

Architects: Alejandro García y Arquitectos Location: A Coruña, Spain Design Team: Alejandro García Rodríguez Project Year: 2012 Photographs: Courtesy of Alejandro García y Arquitectos

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Director David Chipperfield discusses the ideas behind Common Ground and shares his response to the exhibitions featured inside the Arsenale at the 13th Architecture Biennale.

The Museum of Modern Art, Columbia University and The Frank Lloyd Wright Foundation have announced that the vast archives of American architect Frank Lloyd Wright (1867-1959) have been jointly acquired by the University and the Museum and will become part of their permanent collections. The archive, which includes some 23,000 architectural drawings, 44,000 historical photographs, large-scale models, manuscripts, extensive correspondence and other documents, has remained in storage at Wright’s former headquarters – Taliesin (Spring Green, WI) and Taliesin West (Scottsdale, AZ) – since his death. Moving the archives to New York will maximize the visibility and research value of the collection for generations of scholars, students and the public.

“The Frank Lloyd Wright Foundation takes seriously its responsibility to serve the public good by ensuring the best possible conservation, accessibility, and impact of one of the most important and meaningful archives in the world,” said Sean Malone, CEO of the Frank Lloyd Wright Foundation. “Given the individual strengths, resources and abilities of the Foundation, MoMA and Columbia, it became clear that this collaborative stewardship is far and away the best way to guarantee the deepest impact, the highest level of conservation and the best public access.”

Continue after the break for more images and an informative video. 

Inspired by Pritzker Prize laureate Paulo Mendes da Rocha’s call “to get architecture out of the making and thinking of isolated objects and to show it as an inexorable transformation of nature”, Dublin practice Grafton Architects presents Architecture as New Geography at the 2012 Venice Biennale. The exhibition explores the work of the Brazilian architect in the context of Grafton’s first South American project for a university in Lima, Peru.

The International Jury has awarded Grafton the Silver Lion for their “impressive” presentation’s ability to connect to the ideas of Paulo Mendes da Rocha and demonstrate the “considerable potential of this architectural practice in reimagining the urban landscape”. While the Golden Lion for ‘Best National Participation’ went to Japan for an engaging exhibition, curated by Toyo Ito, that develops solutions for a Community building on a post Tsunami site,

Alejandro Aravena, Executive Director of ELEMENTAL, tells us more about The Magnet and The Bomb, their exhibit at the Venice Biennale. You can learn more about the projects presented at this installation: PRES Constitución and Calama PLUS.