Architecture Program Report 7 September 2015
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Award Steering Committee
Aga Khan Award for Architecture 2 0 1 3 AWARD STEERING COMMITTEE His Highness the Aga Khan, Chairman. Mohammad al-Asad is a Jordanian architect and architectural historian. He is the founding director of the Center for the Study of the Built Environment in Amman. Dr. al-Asad studied architecture at the University of Illinois at Urbana-Champaign and history of architecture at Harvard University, before taking post-doctoral research positions at Harvard and at the Institute for Advanced Study at Princeton. He has taught at the University of Jordan, Princeton University, the Massachusetts Institute of Technology and the University of Illinois at Urbana-Champaign, where he was the Alan K. and Leonarda Laing Distinguished Visiting Professor. He was also adjunct professor at Carleton University in Ottawa. Dr. al-Asad has published in both Arabic and English on the architecture of the Islamic world, in books and academic and professional journals. He is the author of Old Houses of Jordan: Amman 1920-1950 (1997) and Contemporary Architecture and Urbanism in the Middle East (2012); and co-author (with Ghazi Bisheh and Fawzi Zayadine) of The Umayyads: The Rise of Islamic Art (2000) and (with Sahel Al Hiyari and Álvaro Siza) Sahel Al Hiyari Projects (2005). He is the editor of Workplaces: The Transformation of Places of Production: Industrialization and the Built Environment in the Islamic World (2010), and co-editor (with Majd Musa) of Architectural Journalism and Criticism: Global Perspectives (2007) and Exploring the Built Environment (2007). Dr. al-Asad has been a member of the board of directors of organisations including the Jordan National Gallery of Fine Arts (part of the Royal Society for Fine Arts), the Jordan Museum, and the Royal Institute of Inter-Faith Studies in Amman. -
20 Years in Spain
20 YEARS IN SPAIN 1993-2013 Few of us would have imagined that 20 years after we opened a small office in Madrid we would be looking back on our contributions to some of the most innovative and influential projects that have been realized in Spain over that period. Probably none of us would have foreseen that five years after the onset of a lingering global financial crisis we would have a thriving multi- disciplinary Spanish practice, advising, planning, designing and supervising the delivery of projects all over the world. We are tremendously proud of the achievements of our colleagues in Spain over these 20 years and are confident that they will go on to achieve more great things in the next 20. Gregory Hodkinson Arup Group Board 20 YEARS IN SPAIN 1993 - 2013 At the service of life Arup has been able to successfully combine the small with the large, engineering with architecture and Scandinavian democracy with British empiricism. The firm, started in 1946 by the Danish engineer, Ove Arup, and founded in its present form in 1963 with the British architect, Philip Dowson, celebrates its first twenty years in Spain as mindful of its legacy as it is to its future. Those who have made many iconic works possible in recent decades are also responsible for minimal works in harsh and demanding social and technical environments, because as much talent is required to build a small bridge in a remote region of China as it is to erect a skyscraper in Europe. It is a saga of mythical engineers of the likes of the late-lamented Peter Rice – without -
Venice & the Common Ground
COVER Magazine No 02 Venice & the Common Ground Magazine No 02 | Venice & the Common Ground | Page 01 TABLE OF CONTENTS Part 01 of 02 EDITORIAL 04 STATEMENTS 25 - 29 EDITORIAL Re: COMMON GROUND Reflections and reactions on the main exhibition By Pedro Gadanho, Steven Holl, Andres Lepik, Beatrice Galilee a.o. VIDEO INTERVIew 06 REPORT 30 - 31 WHAT IS »COMMON GROUND«? THE GOLDEN LIONS David Chipperfield on his curatorial concept Who won what and why Text: Florian Heilmeyer Text: Jessica Bridger PHOTO ESSAY 07 - 21 INTERVIew 32 - 39 EXCAVATING THE COMMON GROUND STIMULATORS AND MODERATORS Our highlights from the two main exhibitions Jury member Kristin Feireiss about this year’s awards Interview: Florian Heilmeyer ESSAY 22 - 24 REVIEW 40 - 41 ARCHITECTURE OBSERVES ITSELF GUERILLA URBANISM David Chipperfield’s Biennale misses social and From ad-hoc to DIY in the US Pavilion political topics – and voices from outside Europe Text: Jessica Bridger Text: Florian Heilmeyer Magazine No 02 | Venice & the Common Ground | Page 02 TABLE OF CONTENTS Part 02 of 02 ReVIEW 42 REVIEW 51 REDUCE REUSE RECYCLE AND NOW THE ENSEMBLE!!! Germany’s Pavilion dwells in re-uses the existing On Melancholy in the Swiss Pavilion Text: Rob Wilson Text: Rob Wilson ESSAY 43 - 46 ReVIEW 52 - 54 OLD BUILDINGS, New LIFE THE WAY OF ENTHUSIASTS On the theme of re-use and renovation across the An exhibition that’s worth the boat ride biennale Text: Elvia Wilk Text: Rob Wilson ReVIEW 47 ESSAY 55 - 60 CULTURE UNDER CONSTRUCTION DARK SIDE CLUB 2012 Mexico’s church pavilion The Dark Side of Debate Text: Rob Wilson Text: Norman Kietzman ESSAY 48 - 50 NEXT 61 ARCHITECTURE, WITH LOVE MANUELLE GAUTRAND Greece and Spain address economic turmoil Text: Jessica Bridger Magazine No 02 | Venice & the Common Ground | Page 03 EDITORIAL Inside uncube No.2 you’ll find our selections from the 13th Architecture Biennale in Venice. -
On El Lissitzky's Representations of Space
Online Journal of Art and Design volume 3, issue 3, 2015 Scissors versus T-square: on El Lissitzky’s Representations of Space Acalya Allmer Dokuz Eylül University, Turkey [email protected] ABSTRACT The first exhibition of Russian art since the Revolution was held in Berlin at the Van Diemen Gallery in the spring of 1922. In Camilla Gray’s terms it was ‘the most important and the only comprehensive exhibition of Russian abstract art to be seen in the West’ (Gray, 1962:315). The exhibition was organized and arranged by Russian architect El Lissitzky who acted as a link between the Russian avant-garde and that of the west. He played a seminal role especially in Germany, where he had lived before the war and where he was a constant visitor between 1922 and 1928. The diversity of El Lissitzky’s talents in many fields of art including graphic design, painting, and photography made him known as ‘travelling salesman for the avant-garde.’ However, what makes the theoretical and visual works of Lissitzky discontinuous and divergent is that they include apparently contradictory domains. Through his short life by shifting different modes of representations - perspective, axonometry, photomontage - Lissitzky sometimes presented us a number of problems in his irrational way of using the techniques. This article concentrates on his contradictory arguments on representation of space especially between 1920 and 1924, by re-reading his theoretical texts published in the avant-garde magazines of the period and looking through his well-preserved visual works. Keywords: El Lissitzky, representation, space, axonometry, photography, avant-garde 1. -
Scottish Parliament Building Edinburgh, Scotland
Scottish Parliament Building Client: Location: Edinburgh, Scotland Date: Typology: In 1998 EMBT won the bid to design the new Edinburgh Parliament building. The Architect: proposal generated great enthusiasm due to its organic capacity to combine existing Project directors: elements with new technologies through the contemporary and unique language of the Design team: Barcelona studio. The project’s development centered on reflecting the characteristics Gross floor area: of the country and its inhabitants via a new way of building that was directly linked to the land itself. This close tie to the site and its setting would, when the adjacent distillery is demolished, enable the generation of multiple perspective lines on the city. Intentionally, a contrast is sought, a conceptual distance, between the new construction and Holyrood Palace, the twelfth-century royal residence that has been renovated many times. Unlike the palace, which dominates the landscape, the new Scottish Parliament drops literally into the hillside terrain, the lowest part of Arthur’s Seat, and appears to sprout from the living stone. Client: The Scottish Executive Government Location: Edinburgh, Scotland Date: 2004 Typology: Civic Government, Landscape Architects: Enric Miralles, Benedetta Tagliabue in a joint venture with: RMJM Scotland LTD, M.A.H Duncan, T.B. Stewart EMBT Staff Competition: Joan Callis, project leader. Constanza Chara, Omer Arbel, Fabian Asunción, Steven Bacaus, Michael Eichhorn, Christopher Hitz, Francesco Mozzati. Leonardo Giovanozzi, Fergus Mc Ardle, Fernanda Hannah, Annie Marcela Henao, Ricardo Jimenez. Project: Joan Callis, project leader. Karl Unglaub, site architect Constanza Chara Umberto Viotto, Michael Eichhorn, Fabian Asunción, Fergus Mc Ardle, Sania Belli , Gustavo Silva Nicoletti, Vicenzo Franza , Antonio Benaduce, Andrew Vrana, Bernardo Ríos, Torsten Skoetz, Tomoko Sakamoko, Javier García Germán,. -
Caterina Frisone and Mark Shapiro Werner Seligmann. a Pedagogical
TEACHING-LEARNING-RESEARCH: DESIGN AND ENVIRONMENTS • Paper / Proposal Title: Werner Seligmann and the Syracuse School of Architecture (1976-1990). A Pedagogical Legacy • Author(s) Name: Caterina Frisone, Mark Shapiro • University or Company Affiliation: Oxford Brookes University • Abstract: In the attempt to explore and bring to the attention of educators and researchers a pedagogical model that has had a strong impact on architectural education, this research presents the fundamental contribution of an academic curriculum that has yet to be told. Dean of the Syracuse University School of Architecture between 1976 and 1990, Werner Seligmann focused his pedagogy on the belief that "architecture can be taught" and built the School strengthening its "Identity", "Team" and "Curriculum" and increasing its visibility and centrality in the international educational network. Within the curriculum, the entire teaching was structured around the principles of the art of ‘space-making’, the importance of the historical precedent and the responsibility of the architect towards the urban realm, creating a solid foundation for the student's architectural thinking. Seeing the classroom as a "laboratory" to monitor how space affects learning and the core of the whole school as a manifesto of active, dynamic and evolving knowledge, Seligmann was adamant in enhancing the entire academic community with lectures, exhibitions, competitions, publications and more. With the establishment of the Florence program, he completed his academic strategy to empower faculty and students, in which traveling and sketching were the real tools for absorbing knowledge of the past and analysis was the means of extracting architectural principles. By "raising the bar" and transmitting his energy to all who met him, he worked to increase the student's self-esteem and ambition. -
Mark Jarzombek
MARK JARZOMBEK C U R R I C U L U M V I T A E ____________________________________________ Current Academic and Administrative Positions • Professor, History and Theory of Architecture, Department of Architecture, MIT, 2005 to the present • Co-Founder with Vikramāditya Prakāsh of Global Architecture History Teaching Collaborative, (funded by a million dollar grant from the Andrew Mellon Foundation) Past Academic and Administrative Positions • Interim Dean, School of Architecture and Planning, MIT, 2014 to 2015 • Associate Dean, School of Architecture and Planning, MIT, 2007 to 2014 • Director of History, Theory, and Criticism of Architecture and Art, Department of Architecture, MIT, 1996-2007 • Associate Professor, History and Theory of Architecture, Department of Architecture, MIT, 1996-2005 • Visiting Associate Professor of the History of Architecture, MIT, 1995-1996 • Associate Professor, History of Architecture and Urbanism, Cornell University, 1993-1995 • Assistant Professor, History of Architecture and Urbanism, Cornell University, 1987-1993 Education 1986 Ph.D., History of Architecture, Massachusetts Institute of Technology 1980 Diplom Architektur, Eidgenössische Technische Hochschule (E.T. H.), Zurich 1970 -1973 University of Chicago Academic Membership • Society of Architectural Historians Member: Spring 1980– Board Member: Fall 1993–Spring 1996 • College Art Association Member: Fall 1980– • DOCOMOMO (New England Chapter) Member: Spring 1995 – • Institut fur Orts-, Regional- und Landesplanning, E.T.H., Zurich Member, Board of -
The Agency of Mapping: Speculation, Critique and Invention
IO The Agency of Mapping: Speculation, Critique and Invention JAMES CORNER Mapping is a fantastic cultural project, creating and building the world as much as measuring and describing it. Long affiliated with the planning and design of cities, landscapes and buildings, mapping is particularly instrumental in the construing and constructing of lived space. In this active sense, the function of mapping is less to mirror reality than to engender the re-shaping of the worlds in which people live. While there are countless examples of authoritarian, simplistic, erroneous and coer cive acts of mapping, with reductive effects upon both individuals and environments, I focus in this essay upon more optimistic revisions of mapping practices. 1 These revisions situate mapping as a collective enabling enterprise, a project that both reveals and realizes hidden poten tial. Hence, in describing the 'agency' of mapping, I do not mean to invoke agendas of imperialist technocracy and control but rather to sug gest ways in which mapping acts may emancipate potentials, enrich expe riences aJd diversify worlds. We have been adequately cautioned about mapping as a means of projecting power-knowledge, but what about mapping as a productive and liberating instrument, a world-enriching agent, especially in the design and planning arts? As a creative practice, mapping precipitates its most productive effects through a finding that is also a founding; its agency lies in neither repro duction nor imposition but rather in uncovering realities previously unseen or unimagined, even across seemingly exhausted grounds. Thus, mapping unfolds potential; it re-makes territory over and over again, each time with new and diverse consequences. -
420 Architectural Works Compete for the European Union Prize for Contemporary Architecture – Mies Van Der Rohe Award 2015
EUROPEAN UNION PRIZE FOR CONTEMPORARY ARCHITECTURE MIES VAN DER ROHE AWARD 2015 420 ARCHITECTURAL WORKS COMPETE FOR THE EUROPEAN UNION PRIZE FOR CONTEMPORARY ARCHITECTURE – MIES VAN DER ROHE AWARD 2015 The European Commission and the Fundació Mies van der Rohe announced today the list of 420 projects competing for the European Union Prize for Contemporary Architecture – Mies van der Rohe Award 2015. 27% of the proposals deal with Housing while 24% are Cultural facilities. 11% are connected to Education, 5% to Offices and the other 33% include mostly Sport, Commercial, Governmental, Transport and Urban typologies. Initiated in 1987 after an agreement between the European Commission and the Barcelona City Hall, the 60.000€ prize is the highest award in European architecture and is awarded biennially to works completed within the previous two years. The principal objectives are to recognise and commend excellence in the field of architecture and to draw attention to the important contribution of European professionals in the development of new ideas and technologies and of the clients who support them. Previous winners include: Harpa - Reykjavik Concert Hall & Conference Centre; Reykjavik, by Peer Henning Larsen Architects / Teglgaard Jeppesen, Osbjørn Jacobsen; Studio Olafur Eliasson / Olafur Eliasson; Batteríid architects / Sigurður Einarsson Neues Museum, Berlin, by David Chipperfield Architects / David Chipperfield, in collaboration with Julian Harrap Norwegian National Opera & Ballet, Oslo, by SNØHETTA / Kjetil Trædal Thorsen, Tarald -
Architectsnewspaper 11 6.22.2005
THE ARCHITECTSNEWSPAPER 11 6.22.2005 NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM $3.95 GUGGENBUCKS, GUGGENDALES, CO GUGGENSOLES 07 MIAMI NICE LU ARTISTIC Z O GO HOME, LICENSING o DAMN YANKEES 12 Once again, the ever-expanding Guggenheim is moving to new frontiers. TOP OF THE A jury that included politicians, Frank CLASS Gehry and Thomas Krens has awarded 4 the design commission for the newest 17 museum in the Guggenheim orbitto VENTURI AND Enrique Norten for a 50-story structure on a cliff outside Guadalajara, Mexico's sec• SCOTT BROWN ond-largest city. The museum will cost BRITISH TEAM WINS VAN ALEN COMPETITION PROBE THE PAST the city about $250 million to build. 03 EAVESDROP But there is now a far less expensive 18 DIARY range of associations with the Guggenheim 20 PROTEST Coney Island Looks Up brand. The Guggenheim is actively 23 CLASSIFIEDS exploring the market for products that it On May 26 Sherida E. Paulsen, chair of the Fair to Coney Island in 1940, closed in 1968, can license, in the hope of Guggenheim- Van Alen Institute's board of trustees, and but the 250-foot-tall structure was land- ing tableware, jewelry, even paint. An Joshua J. Sirefman, CEO of the Coney marked in 1989. eyewear deal is imminent. Island Development Corporation (CIDC), Brooklyn-based Ramon Knoester and It's not the museum's first effort to announced the winners of the Parachute Eckart Graeve took the second place prize license products but it is its first planned Pavilion Design Competition at an event on of S5,000, and a team of five architects strategy to systematize licensing. -
Maps and Meanings: Urban Cartography and Urban Design
Maps and Meanings: Urban Cartography and Urban Design Julie Nichols A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy The University of Adelaide School of Architecture, Landscape Architecture and Urban Design Centre for Asian and Middle Eastern Architecture (CAMEA) Adelaide, 20 December 2012 1 CONTENTS CONTENTS.............................................................................................................................. 2 ABSTRACT .............................................................................................................................. 4 ACKNOWLEDGEMENT ....................................................................................................... 6 LIST OF FIGURES ................................................................................................................. 7 INTRODUCTION: AIMS AND METHOD ........................................................................ 11 Aims and Definitions ............................................................................................ 12 Research Parameters: Space and Time ................................................................. 17 Method .................................................................................................................. 21 Limitations and Contributions .............................................................................. 26 Thesis Layout ....................................................................................................... 28 -
189 09 Aju 03 Bryon 8/1/10 07:25 Página 31
189_09 aju 03 Bryon 8/1/10 07:25 Página 31 Measuring the qualities of Choisy’s oblique and axonometric projections Hilary Bryon Auguste Choisy is renowned for his «axonometric» representations, particularly those illustrating his Histoire de l’architecture (1899). Yet, «axonometric» is a misnomer if uniformly applied to describe Choisy’s pictorial parallel projections. The nomenclature of parallel projection is often ambiguous and confusing. Yet, the actual history of parallel projection reveals a drawing system delineated by oblique and axonometric projections which relate to inherent spatial differences. By clarifying the intrinsic demarcations between these two forms of parallel pro- jection, one can discern that Choisy not only used the two spatial classes of pictor- ial parallel projection, the oblique and the orthographic axonometric, but in fact manipulated their inherent differences to communicate his theory of architecture. Parallel projection is a form of pictorial representation in which the projectors are parallel. Unlike perspective projection, in which the projectors meet at a fixed point in space, parallel projectors are said to meet at infinity. Oblique and axonometric projections are differentiated by the directions of their parallel pro- jectors. Oblique projection is delineated by projectors oblique to the plane of pro- jection, whereas the orthographic axonometric projection is defined by projectors perpendicular to the plane of projection. Axonometric projection is differentiated relative to its angles of rotation to the picture plane. When all three axes are ro- tated so that each is equally inclined to the plane of projection, the axonometric projection is isometric; all three axes are foreshortened and scaled equally.