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Architecture on Display: on the History of the Venice Biennale of Architecture
archITECTURE ON DIspLAY: ON THE HISTORY OF THE VENICE BIENNALE OF archITECTURE Aaron Levy and William Menking in conversation with: Vittorio Gregotti Paolo Portoghesi Francesco Dal Co Hans Hollein Massimiliano Fuksas Deyan Sudjic Kurt W Forster Richard Burdett Aaron Betsky Kazuyo Sejima Paolo Baratta archITECTUraL assOCIATION LONDON ArchITECTURE ON DIspLAY Architecture on Display: On the History of the Venice Biennale of Architecture ARCHITECTURAL ASSOCIATION LONDON Contents 7 Preface by Brett Steele 11 Introduction by Aaron Levy Interviews 21 Vittorio Gregotti 35 Paolo Portoghesi 49 Francesco Dal Co 65 Hans Hollein 79 Massimiliano Fuksas 93 Deyan Sudjic 105 Kurt W Forster 127 Richard Burdett 141 Aaron Betsky 165 Kazuyo Sejima 181 Paolo Baratta 203 Afterword by William Menking 5 Preface Brett Steele The Venice Biennale of Architecture is an integral part of contemporary architectural culture. And not only for its arrival, like clockwork, every 730 days (every other August) as the rolling index of curatorial (much more than material, social or spatial) instincts within the world of architecture. The biennale’s importance today lies in its vital dual presence as both register and infrastructure, recording the impulses that guide not only architec- ture but also the increasingly international audienc- es created by (and so often today, nearly subservient to) contemporary architectures of display. As the title of this elegant book suggests, ‘architecture on display’ is indeed the larger cultural condition serving as context for the popular success and 30- year evolution of this remarkable event. To look past its most prosaic features as an architectural gathering measured by crowd size and exhibitor prowess, the biennale has become something much more than merely a regularly scheduled (if at times unpredictably organised) survey of architectural experimentation: it is now the key global embodiment of the curatorial bias of not only contemporary culture but also architectural life, or at least of how we imagine, represent and display that life. -
Doriana Massimiliano Fuksas
DORIANA MASSIMILIANO FUKSAS Lo Studio Fuksas, guidato da Massimiliano e Doriana Fuksas, è uno studio di architettura internazionale con sedi a Roma, Parigi, Shenzhen. Di origini lituane, Massimiliano Fuksas nasce a Roma nel 1944. Consegue la laurea in Architettura presso l’Università “La Sapienza” di Roma nel 1969. E’tra i principali protagonisti della scena architettonica contemporanea sin dagli anni ‘80. E’ stato Visiting Professor presso numerose università, tra le quali: la Columbia University di New York, l’École Spéciale d’Architecture di Parigi, the Akademie der Bildenden Künste di Vienna, the Staatliche Akademie der Bildenden Künste di Stoccarda.Dal 1998 al 2000 è stato Direttore della “VII Mostra Internazionale di Architettura di Venezia”: “Less Aesthetics, More Ethics”. Dal 2000 è autore della rubrica di architettura, fondata da Bruno Zevi, del settimanale italiano “L’Espresso”. Doriana Fuksas nasce a Roma dove consegue la laurea in Storia dell’Architettura Moderna e Contemporanea presso l’Università “La Sapienza” di Roma nel 1979. Laureata in Architettura all’ESA -ÉcoleSpéciale d’Architecture- di Parigi, Francia. Dal 1985 collabora con Massimiliano Fuksas e dal 1997 è responsabile di “Fuksas Design”. Ha ricevuto diversi premi e riconoscimentiinternazionali. Nel 2013 è stata insignita dell’onorificenza di “Commandeur de l’Ordre des Arts et des Lettres de la République Française” e nel 2002 di “Officier de l’Ordre des Arts et des Lettres de la République Française”. Studio Fuksas, led by Massimiliano and Doriana Fuksas, is an international architectural practice with offices in Rome, Paris, Shenzhen. Of Lithuanian descent, Massimiliano Fuksas was born in Rome in 1944. He graduated in Architecture from the University of Rome “La Sapienza” in 1969. -
Landscape Architecture … Is a Social Art
Landscape architecture … is a social art. – Lawrence Halprin, 2003 The Landscape Architecture of Lawrence Halprin The Cultural Landscape Foundation connecting people to places™ ® tclf.org What’s Out There [cover] Roger Foley Franklin Delano Roosevelt Memorial 2016 C-print 36 x 24 inches [opposite] Roger Foley Fountain Detail, Franklin Delano Roosevelt Memorial 2016 Acknowledgements This gallery guide was created to accompany the traveling photographic exhibition The Landscape Architecture of Lawrence Halprin, which debuted at the National Building Museum on November 5, 2016. The exhibition was organized by The Cultural Landscape Foundation (TCLF), and co-curated by Charles A. Birnbaum, President & CEO, FASLA, FAAR, Nord Wennerstrom, Director of Communications, and Eleanor Cox, Project Manager, in collaboration with G. Martin Moeller, Jr., Senior Curator at the National Building Museum. The production of this guide would not have been possible without the help and support of the Halprin family, and the archivists at the Architectural Archives of the University of Pennsylvania, where Lawrence Halprin’s archive is kept. We wish to thank the site owners and administrators who graciously allowed us to document their properties, particularly Richard Grey, Diana Bonyhadi, Emma Chapman, and Anna Halprin, who allowed us access to their private residences. We also wish to thank the photographers who generously donated their time and energy to documenting these sites, and Russell Hart for proofing the photography. Finally, we are grateful to the National Building Museum’s Chase W. Rynd, Hon. ASLA, President and Executive Director of THE LANDSCAPE ARCHITECTURE OF the National Building Museum, Nancy Bateman, Registrar, Cathy Frankel, Vice President for Exhibitions and Collections, and G. -
04 August 2021 Aperto
AperTO - Archivio Istituzionale Open Access dell'Università di Torino Shops, food, regeneration and a controversial signature building in Turin, Italy This is the author's manuscript Original Citation: Availability: This version is available http://hdl.handle.net/2318/1793275 since 2021-07-07T14:11:16Z Published version: DOI:10.1080/09654313.2021.1903399 Terms of use: Open Access Anyone can freely access the full text of works made available as "Open Access". Works made available under a Creative Commons license can be used according to the terms and conditions of said license. Use of all other works requires consent of the right holder (author or publisher) if not exempted from copyright protection by the applicable law. (Article begins on next page) 29 September 2021 SHOPS, FOOD, REGENERATION AND A CONTROVERSIAL SIGNATURE BUILDING IN TURIN, ITALY Alberto Vanolo* Manuscript; final version published as: Vanolo A. (2021), “Shops, food, regeneration and a controversial signature building in Turin, Italy”, European Planning Studies, DOI: 10.1080/09654313.2021.1903399 https://www.tandfonline.com/eprint/JVMEGFKYJJUAMQGRIH8H/full?target=10.1080/09654313.2021.1903399 Abstract The paper focuses on the case of PalaFuksas, a signature building inaugurated in 2005 and located in the central (but marginalized) area of Porta Palazzo in Turin, Italy. Originally designed to host clothing shops, the building had a history of failures and reconversions, and it is currently mainly used as a branded food hall. By mixing archive and qualitative research, the article focuses on the evolution amongst local stakeholders, of different ‘expectations’, intended as heterogeneous and not fully conscious and rational sets of ideas, imaginaries, forecasts. -
FOR ZONCA C'era Una Volta Tre Milioni Di Anni Fa
FOR ZONCA C'era una volta tre milioni di anni fa ... Once upon a time three million years ago ... Doriana e Massimiliano PER ZONCA Serie di lampade “Candy Collection” per Zonca, 2013 “Candy Collection” lamps for Zonca, 2013 Lampade come caramelle colorate ripiene di luce. Lamps as coloured candies stuffed with light. La serie di lampade disegnate per Zonca parte da un The collection of lamps made for Zonca originates design geometrico, uno scrigno composto da dodici from a geometric design: a shrine made up of facce pentagonali che compongono la struttura twelve pentagonal sides composing the framework di ogni lampada. Seguendo un gioco di pieni e di of each lamp. The solids and voids effect is obtained vuoti, si passa da un corpo lampada concepito come from a body conceived as a frame which remains un’ossatura, dove la struttura è lasciata a vista, a un visible and a microporous covering for the sides. rivestimento delle facce con un motivo microforato. Whether they be used as floor, pendant or table Che siano da terra, sospese o utilizzate come oggetti lamps, the idea is to play with each lamp in order to d’arredo, l’idea è quella di giocare con ogni lampada create a unique ambiance. With such a collection per creare un’ambientazione unica. Si può dare vita of coloured lamps, conceived to be connected, a un’installazione, a una scultura, a un percorso overlapped and inlaid to generate an always luminoso attraverso questa serie di lampade colorate original lamp, it is possible to create an installation, disegnate per essere unite, sovrapposte, incastonate tra a sculpture or a luminous path. -
1) Prof. Luis Fernandez-Galiano (Chair
Press Release National Library Construction Company, Ltd. 16 Ibn Gvirol St., Jerusalem National Library Construction Company Appoints Judges for the Architecture Competition: (1) Prof. Luis Fernandez‐Galiano (Chair), (2) Prof. Rafael Moneo, (3) Prof. Massimiliano Fuksas, (4) Prof. Elinoar Komissar Barzachi, and (5) Architect Gaby Schwartz February 12, 2012 Submission of first stage of the Competition extended to 16 April, 2012, by request of the architects The National Library Construction Company today announced the members of the international Jury for the first stage of the architecture competition. The panel includes five architects – three international and two Israelis. The Israeli architects were selected based on a recommendation from the Competitions Committee of the Israeli Association of Architects. In Stage II of the competition, representatives of the library and of Yad Hanadiv will join the panel. Members of the panel: Prof. Luis Fernandez‐Galiano (Chair), Spain. Professor at the School of Architecture, Madrid Polytechnic University and Chief Editor of Arquitectura Viva – the most popular architecture publication in Spain. He has been a Visiting Professor at Yale University and Rice University in the US, as well as a Visiting Scholar at the Getty Research Institute. Prof. Rafael Moneo, Spain. Recipient of the Pritzker Prize for 1996. Headed the Harvard School of Architecture, where he is currently a Visiting Professor. Designed buildings primarily in Spain and in the US, including the expansion of the Prado Museum in Madrid, the Museum of Fine Arts in Houston, the Kursaal Palace Hotel in San Sebastián, a children’s hospital in Madrid, a science building at Columbia University in New York, and a new building for the Rhode Island School of Design. -
Oral History Center University of California the Bancroft Library Berkeley, California
Oral History Center University of California The Bancroft Library Berkeley, California Jim Chappell Directing the Resurgence of SPUR & Urban Planning in San Francisco Interviews conducted by Shanna Farrell and Todd Holmes in 2016 Copyright © 2017 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California Berkeley ii Since 1954 the Oral History Center of the Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Jim Chappell dated November 7, 2016. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
Brochure IMPRONTA.Pdf
IMPRONTALa gestualità e la forza iconica che caratterizzano i lavori dello studio Fuksas si ritrovano in tutti i pro- dotti che compongono la collezione Impronta: due lavabi, due piatti doccia, una cassettiera in acciaio lucido e due specchi in cui il concept originario ispira un sapiente gioco di riflessioni e luce. The handcraft and iconic power that marked Fuksas’ production are clearly visible in all Impronta product range: two washbasins, two shower trays, a polished steel drawer unit and two mirrors where an original concept creates a skilful game of reflections and light. Die Gestik und ikonische Kraft der Arbeiten aus dem Architektenbüro Fuksas sind in allen Artikeln der Kollektion Impronta erkennbar: zwei Waschbecken, zwei Duschtassen, ein Untertisch mit Schubladen aus poliertem Stahl und zwei Spiegel, in denen sich das ursprüngliche Konzept an einem gekonnten Spiel aus Reflexion und Licht inspiriert. 2 “ricordi di spiagge lontane, impronte leggere che il mare cancella e fa riaffiorare...” “memories of distant shores, light footprints that sea erases and makes them reappear...” “Erinnerungen an ferne Strände, leichte Fußabdrücke, die das Meer verlischt und wieder erscheinen lässt…“ 3 4 PHOTO ARCHIVIO FUKSAS La matrice organica è ricorrente nelle architetture dello studio Fuksas che abilmente usa metterla a con- trasto con strutture e geometrie più razionali. Dalla Nuvola del Nuovo Centro Congressi Eur di Roma, alla morbida copertura in vetro e acciaio dispiegata lun- go l’asse centrale del Nuovo Polo Fiera di Milano, al grande vortice scultoreo dello Zenith Music Hall di Strasburgo. The organic matrix is recurrent in Fuksas architecture design, and it is usually set in contrast with more rational structures and geometries. -
Celebrating 40 Years of the Loeb Fellowship Work Book
CELEBRATING 40 YEARS OF THE LOEB FELLOWSHIP WORK BOOK 1 The Loeb Alumni Council, on the occasion of our 40th Anniversary, wanted to find a way to permanently honor Bill Doebele for his lifetime contribution to Harvard, the GSD, and the Loeb Fellowship Program. Moreover, we wanted to acknowledge the contribution that the Fellowship made to each of our lives by making a substantial gift to the GSD in Bill’s name. We plan to endow the GSD’s Community Service Fellowship Program as it embodies the Loeb mantra of making a difference in local communities and creating a legacy of leadership for future generations. The ten week summer internships and traveling fellowships have immersed students in projects from Boston’s Chinatown to the neighborhoods of Detroit and with organizations from Urban Edge in Boston to NGOs building composting toilets in Nigeria. It is one of the most prestigious real world internship opportunities at the GSD and the students love it. They learn skill sets that will last them their entire careers. michael horst and laurie beckelman, co-chairs of the gift committee the william a. doebele fellowship for community design 2 letter from the dean Congratulations to all of those involved with the 40th Anniversary Reunion celebrations of this outstanding program. 3 Since its founding, through a generous gift by John L. In turn, it is good to know that their experiences at Loeb, SB ’24, LLD ’71, the Loeb Fellowship Program Harvard have helped them gain new insights that has brought an incredible array of practitioners from will serve them well for years to come. -
Photographs Color Transparencies Written
TIDAL BASIN HALS DC-59 National Mall & Memorial Parks HALS DC-59 Roughly bounded by Independence Avenue, Fourteenth Street, East Basin Drive, and Ohio Drive, Southwest Washington District of Columbia PHOTOGRAPHS COLOR TRANSPARENCIES WRITTEN HISTORICAL AND DESCRIPTIVE DATA REDUCED COPIES OF MEASURED DRAWINGS FIELD RECORDS HISTORIC AMERICAN LANDSCAPES SURVEY National Park Service U.S. Department of the Interior 1849 C Street NW Washington, DC 20240 HISTORIC AMERICAN LANDSCAPES SURVEY TIDAL BASIN HALS DC-59 Location: Roughly bounded by Independence Avenue, Fourteenth Street, East Basin Drive, and Ohio Drive, SW, Washington, D.C. The Tidal Basin is located at latitude: 38.884593, longitude: -77.039208. The point represents the center of the Tidal Basin. It was obtained from Google Earth on January 2, 2018, and there is no restriction on its release to the public. Present Owner: National Park Service Present Occupant: National Park Service Present Use: Memorial and recreational landscape for public use Significance: The Tidal Basin and surrounding landscape are the result of an extensive Potomac River improvement project started by the U.S. Army Corps of Engineers in the late nineteenth century to address the sedimentary flats that had been deposited in the river from the White House to the Long Bridge. As part of a large-scale effort to improve the river’s navigability, the Army Corps of Engineers intermittently dredged the waterway after the Civil War. More comprehensive plans were also developed, such as Maj. W.J. Twining’s 1879 proposal to create flushing basins equipped with automatic gates. Water from the Potomac River would fill the basins, which would then discharge into the Washington Channel. -
Cocktails and Conversations Dialogues on Architectural Design
COCKTAILS AND CONVERSATIONS DIALOGUES ON ARCHITECTURAL DESIGN CURATED BY ABBY SUCKLE & WILLIAM SINGER JOHN RUBLE BRAD CLOEPFIL FRANCES HALSBAND DEBORAH BERKE ENRIQUE NORTEN RICHARD WELLER THOMAS BALSLEY ERIC OWEN MOSS TOM KUNDIG COCKTAILS AND CONVERSATIONS DIALOGUES ON ARCHITECTURAL DESIGN CURATED BY ABBY SUCKLE & WILLIAM SINGER © 2018 by American Institute of Architects New York Chapter CONTENTS All Rights Reserved. No portion of the work may be reproduced or transmited in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, without permission in writing from AIANY. i DEDICATIONS ISBN 978-1-64316-280-5 iii ACKNOWLEDGMENTS Orders, inquiries and correspondence should be addressed to: iv ABOUT COCKTAILS AND CONVERSATIONS v INTRODUCTION American Institute of Architects New York Chapter Center For Architecture vii THE CONVERSATIONS 536 LaGuardia Place 165 ABOUT THE BARTENDERS New York, NY 10012 (212) 683 0023, [email protected] 168 ABOUT THE CURATORS 169 Printed in the United States PHOTO CREDITS AND NAPKIN SKETCHES The world may view architects’ idealism and aspiration as idiosyncratic, hopelessly romantic, if not naïve. Architects are constantly browbeaten for daring to dream oversized dreams. Why this slavish devotion to design and aspiration, the skeptic asks, when mean, cost-driven functionalism is all that’s being asked for? Architects don’t have many venues to discuss what makes architecture meaningful, how to “practice” in a world determined to bury aspiration under mandates and me-tooism. That’s the genius of Cocktails and Conversations and the Center for Architecture in New York. Audiences are happily liberated from over-serious formats such as academic lectures. -
Massimiliano Fuksas 26 Maggio 2011 Ore 17,30 Palazzo Tassoni Estense, Salone D’Onore
graphic design: Lab MD Material Design_Giulia Pellegrini Design_Giulia Material MD Lab design: graphic Massimiliano Fuksas 26 maggio 2011 ore 17,30 Palazzo Tassoni Estense, Salone d’Onore Ventennale della Fondazione Festival “To design today” Massimiliano Fuksas Massimiliano Fuksas (Roma, Italia, 1944) © Maurizio Marcato è sicuramente uno dei più noti architetti italiani a livello internazionale. Fermamente convinto della responsabilità “sociale” del fare architettura, da anni Fuksas è impegnato su un fronte di ricerca progettuale che lo porta ad affrontare le problematiche più differenziate, dalla scala architettonica a quella urbana, con la medesima sensibilità nei confronti delle specificità culturali del contesto di intervento. In particolare, nel suo lavoro Fuksas dedica notevole attenzione allo studio dei problemi urbani delle grandi aree metropolitane e specificamente alle periferie, incentrando la sua attività prevalentemente sulla realizzazione di opere pubbliche. Massimiliano Fuksas si laurea nel 1969 all’Università “La Sapienza” di Roma. Dopo avere fondato in quegli stessi anni lo studio professionale a Roma, successivamente crea il suo atelier parigino (1989) e poi quello viennese (1993). Da anni affianca a una solida attività professionale un intenso impegno accademico: è stato visiting professor presso l’École Spéciale d’Architecture di Parigi, l’Academy of Fine Arts di Vienna, la Staatliche Akademie der Bildenden Künste di Stoccarda e la Columbia University di New York. Ha ricevuto numerosi premi internazionali tra cui il