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HERITAGE UNDER SIEGE in BRAZIL the Bolsonaro Government Announced the Auction Sale of the Palácio Capanema in Rio, a Modern
HERITAGE UNDER SIEGE IN BRAZIL the Bolsonaro Government announced the auction sale of the Palácio Capanema in Rio, a modern architecture icon that was formerly the Ministry of Education building FIRST NAME AND FAMILY NAME / COUNTRY TITLE, ORGANIZATION / CITY HUBERT-JAN HENKET, NL Honorary President of DOCOMOMO international ANA TOSTÕES, PORTUGAL Chair, DOCOMOMO International RENATO DA GAMA-ROSA COSTA, BRASIL Chair, DOCOMOMO Brasil LOUISE NOELLE GRAS, MEXICO Chair, DOCOMOMO Mexico HORACIO TORRENT, CHILE Chair, DOCOMOMO Chile THEODORE PRUDON, USA Chair, DOCOMOMO US LIZ WAYTKUS, USA Executive Director, DOCOMOMO US, New York IVONNE MARIA MARCIAL VEGA, PUERTO RICO Chair, DOCOMOMO Puerto Rico JÖRG HASPEL, GERMANY Chair, DOCOMOMO Germany PETR VORLIK / CZECH REPUBLIC Chair, DOCOMOMO Czech Republic PHILIP BOYLE / UK Chair, DOCOMOMO UK OLA ODUKU/ GHANA Chair, DOCOMOMO Ghana SUSANA LANDROVE, SPAIN Director, Fundación DOCOMOMO Ibérico, Barcelona IVONNE MARIA MARCIAL VEGA, PUERTO RICO Chair, DOCOMOMO Puerto Rico CAROLINA QUIROGA, ARGENTINA Chair, DOCOMOMO Argentina RUI LEAO / MACAU Chair, DOCOMOMO Macau UTA POTTGIESSER / GERMANY Vice-Chair, DOCOMOMO Germany / Berlin - Chair elect, DOCOMOMO International / Delft ANTOINE PICON, FRANCE Chairman, Fondation Le Corbusier PHYLLIS LAMBERT. CANADA Founding Director Imerita. Canadian Centre for Architecture. Montreal MARIA ELISA COSTA, BRASIL Presidente, CASA DE LUCIO COSTA/ Ex Presidente, IPHAN/ Rio de Janeiro JULIETA SOBRAL Diretora Executiva, CASA DE LUCIO COSTA, Rio de Janeiro ANA LUCIA NIEMEYER/ BRAZIL -
The Stupid Starchitect Debate
THE STUPID STARCHITECT DEBATE “Here’s to the demise of Starchitecture!” wrote Beverly Willis, in The New York Timesrecently. Willis, through her foundation, has done much to promote the value of architecture. But like many critics of celebrity architecture, she gets it wrong: “In my 55-plus years of practice and involvement in architecture, I have witnessed the birth and — what I hope will soon be — the demise of the star architect.” The last few years has seen the rise of the snarky, patronizing term “starchitect,” (a term I refuse to use outside this context, much to the annoyance of editors seeking click-bait). But big-name architects creating spectacular, expensive buildings that from time to time prove to be white elephants have always been with us. Think Greek temples, Hindu Palaces, Chinese gardens, and monumental Washington, DC. The Times clearly struck a nerve by running a starchitecture story of utter laziness by author and emeritus professor Witold Rybczynski. That story led to a “Room for Debate” forum offering a variety of solicited points of view, and another more recent forum in which the Times asked readers to respond to a thoughtful letter by Peggy Deamer, an architect (and friend) who teaches at Yale. WHINING ABOUT CELEBRITY ARCHITECTURE I have written a great deal about celebrity architects as well as practitioners of what Rybczynski calls “locatecture.” He names no architects that stick to their own city, however, which says to me he doesn’t really care about the kind of practitioner he claims to celebrate. He’d rather just complain about flashy architecture than deeply examine it. -
Starchitect:” Wright Finds His Voice After Being Fired
Athens Journal of Architecture - Volume 5, Issue 3– Pages 301-318 After the “Starchitect:” Wright Finds his Voice after Being Fired By Michael O'Brien * The term ―Starchitect‖ seems to have originated in the 1940’s to describe a ―film star who has designed a house‖ but of late has been understood as an architect who has risen to celebrity status in the general culture. Louis Sullivan, like Daniel Burnham, might have been considered a ―starchitect.‖ Starchitects are frequently associated with a unique style or approach to architecture and all who work for them, adopt this style as their own as a matter of employment. Frank Lloyd Wright was one of these architects, working under and in the idiom of Louis Sullivan for six years, learning to draw and develop motifs in the style of Louis Sullivan. Frank Lloyd Wright’s firing by Louis Sullivan in 1893 and his rapidly growing family set him on an urgent course to seek his own voice. The bootleg houses, designed outside the contract terms Wright had with Adler and Sullivan caused the separation, likely fueled by both Sullivan and Wright’s ego, which left Wright alone, separated from his ―Lieber Meister‖1 or ―Beloved Master.‖ These early houses by Wright were adaptations of various styles popular in the times, Neo-Colonial for Blossom, Victorian for Parker and Gale, each, as Wright explained were not ―radical‖ because ―I could not follow up on them.‖2 Wright, like many young architects, had not yet codified his ideas and strategies for activating space and form. How does one undertake the search for one’s language of these architectural essentials? Does one randomly pursue a course of trial and error casting about through images that capture one’s attention? Do we restrict our voice to that which has already been voiced in history? Wright’s agenda would have included the merging of space and enclosure with site and nature structured as he understood it from Sullivan’s Ornament. -
Foster + Partners Bests Zaha Hadid and OMA in Competition to Build Park Avenue Office Tower by KELLY CHAN | APRIL 3, 2012 | BLOUIN ART INFO
Foster + Partners Bests Zaha Hadid and OMA in Competition to Build Park Avenue Office Tower BY KELLY CHAN | APRIL 3, 2012 | BLOUIN ART INFO We were just getting used to the idea of seeing a sensuous Zaha Hadid building on the corporate-modernist boulevard that is Manhattan’s Park Avenue, but looks like we’ll have to keep dreaming. An invited competition to design a new Park Avenue office building for L&L Holdings and Lemen Brothers Holdings pitted starchitect against starchitect (with a shortlist including Hadid and Rem Koolhaas’s firm OMA). In the end, Lord Norman Foster came out victorious. “Our aim is to create an exceptional building, both of its time and timeless, as well as being respectful of this context,” said Norman Foster in a statement, according to The Architects’ Newspaper. Foster described the building as “for the city and for the people that will work in it, setting a new standard for office design and providing an enduring landmark that befits its world-famous location.” The winning design (pictured left) is a three-tiered, 625,000-square-foot tower. With sky-high landscaped terraces, flexible floor plates, a sheltered street-level plaza, and LEED certification, the building does seem to reiterate some of the same principles seen in the Lever House and Seagram Building, Park Avenue’s current office tower icons, but with markedly updated standards. Only time will tell if Foster’s building can achieve the same timelessness as its mid-century predecessors, a feat that challenged a slew of architects as Park Avenue cultivated its corporate identity in the 1950s and 60s. -
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. -
Table of Contents
4 CONTENTS CONTENTS INTRODUCTION / EINLEITUNG / INTRODUCTION 8 ANNETTE GIGON / MIKE GUYER & ATELIER WW – Löwenbräu-Areal Arts Center Zurich 238 ZAHA HADID – Heydar Aliyev Cultural Center Baku / Sheikh Zayed Bridge Abu Dhabi 246 ACEBO X ALONSO – National Museum of Science and Technology, MUNCYT A Coruña 40 HERZOG & DE MEURON – Schaulager Münchenstein / STAN ALLEN – CCV Chapel Tagaytay 48 TEA Santa Cruz de Tenerife 260 TADAO ANDO – Château la Coste Art Center Le Puy-Sainte-Réparade / Chichu Art Museum Naoshima 56 STEVEN HOLL – Sliced Porosity Block Chengdu 278 CHIAKI ARAI – Niigata City Konan Ward Cultural Center Niigata 68 CARSTEN HÖLLER AND MARCEL ODENBACH – House Turtle Biriwa 288 ALEJANDRO ARAVENA / ELEMENTAL – UC Innovation Center—Anacleto Angelini Santiago 80 TOYO ITO – Meiso no Mori Municipal Funeral Hall Kakamigahara 298 ARCHEA – Antinori Winery Bargino 86 IZQUIERDO LEHMANN – Cruz del Sur Office Building Santiago / House in Vitacura Santiago 306 ARTECHNIC – Breeze Tokyo 98 MATHIAS KLOTZ + ALVANO & RIQUELME – Vitacura 3565 Santiago 314 BAK – Cher House Mar Azul 110 KSP JÜRGEN ENGEL – Bergen-Belsen Documentation and Information Center Celle 320 BARCLAY & CROUSSE – Vedoble Houses Cañete 120 MARTE.MARTE – Schanerloch Bridge Dornbirn 328 HAGY BELZBERG – Los Angeles Museum of the Holocaust Los Angeles 132 RICHARD MEIER – Jubilee Church Tor Tre Teste, Rome 332 TATIANA BILBAO – Casa Ventura Monterrey 142 PAULO MENDES DA ROCHA – Leme Gallery São Paulo 342 BNKR – Sunset Chapel Acapulco 150 FERNANDO MENIS – Church of the Holy Redeemer San -
Parametric Articulation
Parametric Articulation A thesis submitted to the Graduate School of the University of Cincinnati Division of Research and Advanced Studies for partial fulfillment of the requirements for the degree of Master of Architecture School of Architecture and Interior Design 2013 By Andrew Newman B.F.A Environmental Design, MICA, 2008 Committee Chairs: Ming Tang Thesis Abstract In the world today, actual concerns for human experience and climate change obligate professional disciplines related to the building industry to explore more innovative design solutions. With the scarce allocation of capital the practice of architecture is in the process of adapting to a more economical process of utilizing parametric tools to design, document, analyze and fabricate building facades. Parametric tools, however, can only aid a designer in the process of achieving the qualitative features of a demanded certain spatial experience. Design and analysis of a building's enclosure system is a fundamental first step in the design process to achieve the qualitative and quantitative benefits of comfort, protection and reduction in energy consumption. As we move forward into information-based future, it is important for the architecture practice to utilize the technological advances in industrial design, computational design and rapid fabrication processes. These advances bring with them the tools needed for architects to innovate, analyze and construct new dynamic enclosure systems for the future. The Architectural Problem Traditional methods of cladding and enclosing structures responsively tend to produce uniformly articulated facades. The character of building articulation, which is ultimately based on orientation, climate, and interior comfort, varies in terms of materials and methods. -
Starchitect NSF- 1010624
Starchitect NSF- 1010624 Summative Evaluation for Space Science Institute By Kate Haley Goldman Patricia A. Montano Emily Craig Erin Wilcox Audience Viewpoints Consulting January 2016 Table of Contents LIST OF TABLES 3 LIST OF FIGURES 4 EXECUTIVE SUMMARY 5 INTRODUCTION AND PROJECT BACKGROUND 6 STARCHITECT GAME CONTEXT 8 METHODOLOGY AND SAMPLE 8 Game-wide Sample 9 SAMPLE: CONTROLLED STUDY 14 WHAT WAS THE NATURE OF GAME PLAY? 17 FINDINGS: CONTROLLED STUDY 25 SCIENCE CONFIDENCE 25 NO CHANGE IN ASTRONOMY INTEREST 28 SELF-PERCEPTION OF KNOWLEDGE 29 MEASURED KNOWLEDGE 30 LEARNED FROM THE GAME 34 MOTIVATION FOR PLAYING 35 REFLECTION ON LESSONS LEARNED FROM THE PROJECT 42 REFERENCES 49 APPENDIX A: PRE SURVEY 51 APPENDIX B: POST SURVEY 59 APPENDIX C: TELEPHONE INTERVIEW 68 Starchitect Summative Evaluation 2 Audience Viewpoints Consulting List of Tables Table 1: Where Players Found Out about Starchitect ..................................................................... 9 Table 2: Age Provided Game-Wide ............................................................................................................ 9 Table 3: Gender provided Game-wide ................................................................................................. 12 Table 4: Gender Game-wide....................................................................................................................... 12 Table 5: Starchitect Players are More Knowledgeable about Science than the General Public ........................................................................................................................................................... -
Labs at Assigned Time: 50 Minutes Thursdays: Lecture and Discussion: 9:00 – 10:40
ARC 5744 Architectural History from 1840 to Present and ARC 5744 Lab Wednesdays: Labs at assigned time: 50 minutes Thursdays: Lecture and discussion: 9:00 – 10:40 Professor Gray Read, Email: [email protected] Website: http://faculty.fiu.edu/~readg/ Office: PCA376 (Office Hours: Tuesdays 9:00-12:00) My Blog: http://architecture-performance.blogspot.com Secondary Instructor: Asha Kutty, mailto:[email protected] GA: Juan Gatica, [email protected] Turnitin Course Number: Password: history (you must register yourself in this course on www.turnitin.com) Description: Course introduces students to the major ideas and figures that shaped the multiple strains of architectural design from 1840 to the present as well as examples of contemporaneous vernacular and indigenous design. Course considers three main themes present in much of design research and innovation: architecture as social action that engages often conflicting economic and cultural patterns of use, architecture as physical modification that addresses the natural world as well as people’s differing abilities, and architecture as technological innovation. Students will read and discuss influential texts of the late 19th and early 20th centuries, then consider how those ideas were manifest in architectural design. Objectives: Students will become familiar with the major figures, buildings, and ideas in the multiple strains of recent architectural history across the globe. Students will become aware of multiple historical legacies grounded in political, economic, ecological and technological conditions. Students will consider how diverse social and cultural norms influenced design decisions, particularly when they must be negotiated in multicultural situations. They will develop critical thinking and writing skill through discussion and essays that focus on ideas and use specific analytical examples to support theses. -
The Art of Architecture/ the Politics of Awards: 2016 Pritzker Architecture Prize Continues Conversations About Sexism and Social Value
MARCH // APRIL // 2016 DIVERSITY IN THE PROFESSION ON THE RISE, AIDED BY NEW INITIATIVES // 34 THE PRITZKER PRIZE // 42 M A RAIACHICAGO.ORG C H // A PR I L // 2 016 1 THE ART OF ARCHITECTURE/ THE POLITICS OF AWARDS: 2016 PRITZKER ARCHITECTURE PRIZE CONTINUES CONVERSATIONS ABOUT SEXISM AND SOCIAL VALUE BY DAWN REISS Students romp and play in the Obama Library Drone Aviary 42 MARCH // APRIL // 2016 CHICAGO ARCHITECT AIACHICAGO.ORG 2016 PRITZKER ARCHITECTURE PRIZE CONTINUES CONVERSATIONS ABOUT SEXISM AND SOCIAL VALUE artha Thorne, executive director of the Pritzker Architecture Prize vividly remembers the phone call she made to Alejandro Aravena telling him the eight-person jury Mhad selected him as the 2016 prizewinner. “He literally could not speak,” Thorne said. “The first thing he said to me was ‘Martha, don’t joke about these things.’ I said ‘But I’m not.’” Thorne says the Chilean architect, who is the direc- tor of the 2016 Venice Architecture Biennale, was genuinely shocked and emotional. “He never expected it,” Thorne said. “In part because he is that type of person, incredibly generous. The jury is committed to the prize and the best. They are committed to the mission of the prize before any other. There’s no benefit for the jury in engaging in politics.” But as anyone knows, anytime there’s a group of people, there are politics. Since the inception of the Pritzker Architecture Prize by Jay and Cindy Pritzker, which was first given to Phillip Johnson in 1979, the influential prize has been synonymous as the “Nobel Prize for architects.” There’s no doubt that the winners are some of most influential architects from I. -
The Avant-Garde Architecture of Three 21St Century Universal Art Museums
ABU DHABI, LENS, AND LOS ANGELES: THE AVANT-GARDE ARCHITECTURE OF THREE 21ST CENTURY UNIVERSAL ART MUSEUMS by Leslie Elaine Reid APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Richard Brettell, Chair ___________________________________________ Nils Roemer ___________________________________________ Maximilian Schich ___________________________________________ Charissa N. Terranova Copyright 2019 Leslie Elaine Reid All Rights Reserved ABU DHABI, LENS, AND LOS ANGELES: THE AVANT-GARDE ARCHITECTURE OF THREE 21ST CENTURY UNIVERSAL ART MUSEUMS by LESLIE ELAINE REID, MLA, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES - AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS May 2019 ACKNOWLEDGMENTS I wish to thank, in particular, two people in Paris for their kindness and generosity in granting me interviews, providing electronic links to their work, and emailing me data on the Louvre-Lens for my dissertation. Adrién Gardère of studio adrien gardère and Catherine Mosbach of mosbach paysagists gave hours of their time and provided invaluable insight for this dissertation. And – even after I had returned to the United States, they continued to email documents that I would need. March 2019 iv ABU DHABI, LENS, AND LOS ANGELES: THE AVANT-GARDE ARCHITECTURE OF THREE 21ST CENTURY UNIVERSAL ART MUSEUMS Leslie Elaine Reid, PhD The University of Texas at Dallas, 2019 ABSTRACT Supervising Professor: Richard Brettell Rooted in the late 18th and 19th century idea of the museum as a “library of past civilizations,” the universal or encyclopedic museum attempts to cover as much of the history of mankind through “art” as possible. -
The Values of Starchitecture: Commodification of Architectural Design in Contemporary Cities Davide Ponzini Politecnico Di Milano, [email protected]
CORE Metadata, citation and similar papers at core.ac.uk Provided by DigitalCommons@WPI Volume 3 | Issue 1 Pages 10 - 18 5-17-2014 The Values of Starchitecture: Commodification of Architectural Design in Contemporary Cities Davide Ponzini Politecnico di Milano, [email protected] Follow this and additional works at: http://digitalcommons.wpi.edu/oa Part of the Arts and Humanities Commons, and the Business Commons To access supplemental content and other articles, click here. Recommended Citation Ponzini, Davide (2014) "The Values of Starchitecture: Commodification of Architectural Design in Contemporary Cities," Organizational Aesthetics: Vol. 3: Iss. 1, 10-18. Available at: http://digitalcommons.wpi.edu/oa/vol3/iss1/4 This Special Topic is brought to you for free and open access by DigitalCommons@WPI. It has been accepted for inclusion in Organizational Aesthetics by an authorized administrator of DigitalCommons@WPI. Organizational Aesthetics 3(1): 10-18 © The Author(s) 2014 www.organizationalaesthetics.org The Values of Starchitecture: Commodification of Architectural Design in Contemporary Cities Davide Ponzini Politecnico di Milano Abstract In the last two decades international architects have been playing a significant role in city- branding and in marketing real estate products. Both public and private decision makers raised great expectations toward the increase in the value of the buildings and places that star architects designed and toward positive urban and economic effects that could derive from such projects (e.g. new and spectacular museum facilities, corporation headquarters). This paper criticizes the simplistic views representing the starchitect’s alleged added-value in mere economic terms and it proposes to consider a broader set of cultural and political dimensions.