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Editor's ChoiceVideo: Gaetano Pesce on Architecture as Art
House in Chiharada / Studio Velocity
Architects: Studio Velocity
Location: Chiharada Kōryūjichō, Okazaki-shi, Aichi-ken, Japan
Area: 55.0 sqm
Photographs: Kentaro Kurihara
Location: Chiharada Kōryūjichō, Okazaki-shi, Aichi-ken, Japan
Area: 55.0 sqm
Photographs: Kentaro Kurihara
AWP Designs Cycle Centre Lookout for Newcastle’s Malmo Quay
As part of the Newcastle-upon-Tyne‘s Malmo Quay development masterplanned by URBED, AWP Office for Territorial Reconfiguration has
designed a cycle hub and community hall with a gradually ascending ramp
that leads to a lookout platform with views of the surrounding
Newcastle Quayside and Ouseburn Valley. Though this distinctive ramp and
lookout will be a landmark at a prominent location on the Tyne river,
AWP states that “by revealing a new perspective of the city and the
Valley, the cycle hub will become a landmark celebrated precisely for
the view it creates,” rather than merely for its striking appearance
above the roofline of the cycle hub below.
Utopia Arkitekter’s “Jewel” Selected in Uppsala Travel Centre Contest
Stockholm-based practice Utopia Arkitekter has been selected to design a new travel centre in Uppsala after
their “sculptural, eye-catching jewel of a building” won the municipal
design contest. Featuring a travel centre, fitness centre and restaurant
on the lower floors and offices in the floors above, the building aims
for LEED Platinum
certification. The design revolves around the incorporation of
bicycles, providing commuters with extensive bicycle parking facilities
as well as changing room and shower facilities for a convenient transfer
from bicycle to train.
More on the design after the break
More on the design after the break
Shop 03 / i29 interior architects
Architects: i29 interior architects
Location: Herengracht 178, 1016 BR Amsterdam, Netherlands
Photographs: Ewout Huibers
Location: Herengracht 178, 1016 BR Amsterdam, Netherlands
Photographs: Ewout Huibers
The Latest 99% Invisible Podcast Will Have You on the “Edge of Your Seat”
“A Chair is a difficult object. A skyscraper is almost easier.” – Mies van der Rohe
In his latest 99% Invisible podcast, Roman Mars takes listeners to the edge of their seats (literally), as he tackles one of design’s unique challenges: the chair. From Van der Rohe to Gehry, Hadid, Libeskind and Corbusier, “if they’ve designed a big building, chances are they’ve designed a thing on which to sit,” begins Mars. Yet the complexity of chair design comes from the fact that a chair “disappears when in use…Chairs need to look fantastic when empty, and remain invisible (and comfortable) while in use,” states Mars. And with numerous recent studies showing the negative impacts of sitting too much, innovative chair design is now more important than ever.
Listen to the full podcast and check out some well-known chairs designed by architects after the break.
In his latest 99% Invisible podcast, Roman Mars takes listeners to the edge of their seats (literally), as he tackles one of design’s unique challenges: the chair. From Van der Rohe to Gehry, Hadid, Libeskind and Corbusier, “if they’ve designed a big building, chances are they’ve designed a thing on which to sit,” begins Mars. Yet the complexity of chair design comes from the fact that a chair “disappears when in use…Chairs need to look fantastic when empty, and remain invisible (and comfortable) while in use,” states Mars. And with numerous recent studies showing the negative impacts of sitting too much, innovative chair design is now more important than ever.
Listen to the full podcast and check out some well-known chairs designed by architects after the break.
Extrastatecraft: The Power of Infrastructure Space by Keller Easterling
The following is an excerpt from Keller Easterling’s latest publication, Extrastatecraft: The Power of Infrastructure Space, which explores areas of infrastructure with the greatest impact on our world. Easterling is a professor at Yale School of Architecture.
The road between Nairobi and Mombasa is lined with, and virtually lit by, advertisements for the mobile phone companies that have entered the region—all promising new freedoms and economic opportunities. With their images of Masai tribesman in native dress phoning from a remote wilderness, the ads employ an essential trope of leap-frogging—the desire for a perfect collapse between technology and nature, tradition and modernity. The billboards express the enthusiasm of a world turned upside down in which not the developed but the developing world has their hands around a majority of the world’s cell phones.
Over the last 150 years, the ocean floor has been laid with thousands of miles of submarine cable of all types for telegraph, telephone, and fiber-optic infrastructure. In the nineteenth century, it took only thirty years for the British cable-laying companies to string the world with telegraph cable, and a little over a decade from the late 1980s to the late 1990s for most of the world to be connected to fiber-optic cable. Yet until recently, East Africa, one of the most populous areas of the world, had no fiber- optic submarine cable link and less than 1 percent of the world’s broadband capacity. A country like Kenya had to rely for its broadband on expensive satellite technology acquired in the 1970s that cost twenty to forty times its equivalent in the developed world. Before 2009, one Mbps (megabit per second) of bandwidth could cost as much as 7,500 US dollars per month against the world average of $200. The monthly cost of putting twenty-five agents on the phone was $17,000 a month instead of the $600–900 that it would cost in other developed countries.(1)
The road between Nairobi and Mombasa is lined with, and virtually lit by, advertisements for the mobile phone companies that have entered the region—all promising new freedoms and economic opportunities. With their images of Masai tribesman in native dress phoning from a remote wilderness, the ads employ an essential trope of leap-frogging—the desire for a perfect collapse between technology and nature, tradition and modernity. The billboards express the enthusiasm of a world turned upside down in which not the developed but the developing world has their hands around a majority of the world’s cell phones.
Over the last 150 years, the ocean floor has been laid with thousands of miles of submarine cable of all types for telegraph, telephone, and fiber-optic infrastructure. In the nineteenth century, it took only thirty years for the British cable-laying companies to string the world with telegraph cable, and a little over a decade from the late 1980s to the late 1990s for most of the world to be connected to fiber-optic cable. Yet until recently, East Africa, one of the most populous areas of the world, had no fiber- optic submarine cable link and less than 1 percent of the world’s broadband capacity. A country like Kenya had to rely for its broadband on expensive satellite technology acquired in the 1970s that cost twenty to forty times its equivalent in the developed world. Before 2009, one Mbps (megabit per second) of bandwidth could cost as much as 7,500 US dollars per month against the world average of $200. The monthly cost of putting twenty-five agents on the phone was $17,000 a month instead of the $600–900 that it would cost in other developed countries.(1)
Energeticon Alsdorf / Heinrich Böll Architekt + Atelier Brückner
Architects: Heinrich Böll Architekt
Location: Alsdorf, Germany
Exhibition Design: Atelier Brückner
Year: 2014
Photographs: Thomas Mayer
Location: Alsdorf, Germany
Exhibition Design: Atelier Brückner
Year: 2014
Photographs: Thomas Mayer
Video: Olafur Eliasson Discusses the Authorship of Reality in “Riverbed” Exhibition
<a href="http://www.vimeo.com/112901079">http://www.vimeo.com/112901079</a>
“There are no real things. This is it. We are living in models
and that’s how it will always be and has always been… Who has authorship
of reality? Who is then real?”
In this new video from Louisiana Channel, Olafur Eliasson meditates on the deeply philosophical questions posed by his provocative exhibition, Riverbed. Discussing themes such as the currency of trust, the authorship of reality through choice of perception, and the intricate relationships between museum, art, artist, and viewer, Eliasson sits within his own artificial landscape and recounts the deep inquiries that drive his work. Describing his views on the complexity of trust in the foundational value of the museum as an institution, Eliasson argues for the empowerment of the public. “If an audience feels trusted,” he states, “then they dare to get involved.”
In this new video from Louisiana Channel, Olafur Eliasson meditates on the deeply philosophical questions posed by his provocative exhibition, Riverbed. Discussing themes such as the currency of trust, the authorship of reality through choice of perception, and the intricate relationships between museum, art, artist, and viewer, Eliasson sits within his own artificial landscape and recounts the deep inquiries that drive his work. Describing his views on the complexity of trust in the foundational value of the museum as an institution, Eliasson argues for the empowerment of the public. “If an audience feels trusted,” he states, “then they dare to get involved.”
OFIS Arhitekti Designs Cantilevered Cultural Space for Arvo Pärt Center
Awarded Special Mention “for its original concept and daring in thinking beyond the set bounds,” OFIS Arhitekti’s proposal for the Arvo Pärt Center, “MEIE AED”
(Our Garden), is a combination of a pine tree, tree house, traditional
house, nest, observatory, and floating bridge. A cultural center that
incorporates a multitude of programs including concert space, archives,
creative space, and a chapel, the building was conceived to converse
closely with its forested natural surroundings.
ING House / MVSA Architects
Architects: MVSA Architects
Location: Amstelveenseweg 500, 1081 KL Amsterdam, The Netherlands
Area: 20000.0 sqm
Year: 2002
Photographs: Courtesy of MVSA Architects
Location: Amstelveenseweg 500, 1081 KL Amsterdam, The Netherlands
Area: 20000.0 sqm
Year: 2002
Photographs: Courtesy of MVSA Architects
Preschool of Aknaibich / BC architects + MAMOTH
Architects: BC architects , MAMOTH
Location: Arabic Language Institute in Fez, 2 Ahmed Hiba Street, Fes 30000, Morocco
Area: 55.0 sqm
Year: 2014
Photographs: Frank Stabel, Thomas Joos, Kristel Pelliet, Nicolas Coeckelberghs
Location: Arabic Language Institute in Fez, 2 Ahmed Hiba Street, Fes 30000, Morocco
Area: 55.0 sqm
Year: 2014
Photographs: Frank Stabel, Thomas Joos, Kristel Pelliet, Nicolas Coeckelberghs
Clovelly House / Rolf Ockert Design
Architects: Rolf Ockert Design
Location: Clovelly NSW 2031, Australia
Area: 450.0 sqm
Year: 2014
Photographs: Sharrin Rees
Location: Clovelly NSW 2031, Australia
Area: 450.0 sqm
Year: 2014
Photographs: Sharrin Rees
Thibaudeau Architecte & Agence d’Architecture Guiraud-Manenc Design Sculptural Tourism Office in France
French firm Thibaudeau Architecte & Agence d’Architecture Guiraud-Manenc has earned second place for a competition to design the new tourism office for “Les Pays de Fontenay le Compte France.”
Designed to encourage tourism in South Vendée, the design merges a
contemporary style with a consideration for the historic and artistic
identity of the area.
LAVA Reinvents the Youth Hostel With Sport Oriented Design in Bayreuth
Stuttgart-based Laboratory for Visionary Architecture (LAVA) has designed a 180-room hostel for the Bavarian Youth Hostel Association in Bayreuth, Germany.
Designed for the sociable Generation Y traveler, the hostel offers an
abundance of flexible public spaces featuring bright colours and soaring
windows overlooking the Bavarian landscape. Touted by the firm as a
“yardstick for the sports hostel of the future,” the futuristic building
includes modular furniture and universal step-free access throughout
all facilities, grounds, and sports fields. Circulation for the design
centres on a Y-shaped plan designed to maximize natural light
light while providing ample opportunities for athletic engagement.
Find out more about Bayreuth’s futuristic Youth Hostel after the break
Find out more about Bayreuth’s futuristic Youth Hostel after the break
Lottersberger House / Estudio Irigoyen, Navarro Arquitectos
Architects: Estudio Irigoyen, Navarro Arquitectos
Location: San José del Rincón, Santa Fe Province, Argentina
Project Area: 195.0 m2
Project Year: 2012
Photographs: Federico Cairoli
Location: San José del Rincón, Santa Fe Province, Argentina
Project Area: 195.0 m2
Project Year: 2012
Photographs: Federico Cairoli
Detail in Contemporary Staircase Design
If a building could be thought of as the architect’s
manifesto to construction, then the staircase can be seen as the
designer’s autograph – a signature flourish that can embody the entire
statement of design for a building in a singular structure. Staircases
can be flamboyant or understated in design, from refined to rustic in
their construction and traditional to unconventional in the materials
from which they are built. Whatever their direction, all of the
staircases in this collection make an announcement about the building,
whether they are intended to subtly blend in with their surroundings or
to attract attention and inspire.
This book is a collection of 39 of the most exceptional staircase designs produced across the world over the last ten years. Detail in Contemporary Staircase Design
features photographs of the finished staircases alongside technical
drawings, illustrating the design and construction of outstanding
projects ranging from intricate domestic creations to imaginative public
and commercial features and dramatic artistic statements. Each building
in this book is conceived by an architect whose all-encompassing vision
drives and informs the configuration of each structure, provides a
concept that gives direction to the building’s appearance and solutions
to each design problem. Every featured staircase should therefore be
seen as the distillation of each designer’s approach, encapsulating the
motivation and direction of the entire building design. The staircase
can be considered as a microcosm of the building.
House in Hampstead / Cullinan Studio
Architects: Cullinan Studio
Location: Hampstead, London NW3, UK
Project Architect: Kevin Goh
Project Director: Carol Costello
Area: 100.0 sqm
Photographs: Paul Raftery
Location: Hampstead, London NW3, UK
Project Architect: Kevin Goh
Project Director: Carol Costello
Area: 100.0 sqm
Photographs: Paul Raftery
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