Le Corbusier was a pioneer of the Modernist Movement in architecture. Throughout his career, he undertook an array of projects all around the world. See below for 17 of his works that have been named World Heritage Sites by UNESCO, as well as many more of his other popular pieces. Hopefully, someday you get to go and see them yourself!
In this video, Will Quam of Brick of Chicago takes us around the American city to question Louis Kahn’s adage that all bricks are motivated to be arches. Here, in the Logan Square neighborhood, we find bricks of all sorts, that — in addition to arches — take on other configurations and metaphors to describe their qualities; textile bricks and diapering, brushstrokes of a painting, butter joints and glazes, soldiers and bullnoses.
OMA’s mixed-use development for Morden Wharf has just been granted planning consent from the Royal Borough of Greenwich’s Planning Committee. The scheme created for developer U+I is located on a 2.4-hectare brownfield site, with an industrial past, on London’s Greenwich Peninsula facing the historic Greenwich and the millennial O2 Arena.
Work on Bjarke Ingels Group's gateway for Milan's CityLife district has officially commenced. The new-generation office building marks the completion of the CityLife area in the Italian city, an urban regeneration project that has been restored to provide a livable environment characterized by sustainability, improved quality of life, and all-inclusive services. The structure is set to "stand as a new paradigm for the offices of the future, as the outcome of a new idea of workplace based on innovative design solutions that put quality of life at the center and redefine the concept of sustainability".
The 2021 Seoul Biennale of Architecture and Urbanism will debut on September 16th with a series of exhibitions, events and conferences that reflect on the future of urban environments and the architectural and planning strategies that foster resilience. Titled “CROSSROADS, Building the Resilient City”, the third edition of SBAU curated by architect Dominique Perrault attempts to assert the importance of interactions and “cross-fertilization of expertise and approaches” to respond to the complexities that shape the built environment, all read through the timely issue of resiliency.
Vernacular techniques and local materials are becoming more and more relevant in architecture, but is it possible to bring these concepts to large urban areas?
In 1984, the Amazonian architect Severiano Porto had already pointed out the need to make architecture more connected to its location. Using local materials and techniques is becoming more important each day, considering the impacts of the commodity chain of building construction on the planet. Not surprisingly, the number of projects that use this approach is growing every day, as Severiano has already mentioned in his work since the 1980s.
Saskia Sassen, the Robert S. Lynd Professor of Sociology at Columbia University, predicts in her co-authored book “The Quito Papers and the New Urban Agenda” that, in the future cities will become our crucial battlefield as we continue to fight against gentrification and growing degree of isolation in our communities. Sassen argues that, “Cities should be an inclusive space for both the affluent and the poor. Nevertheless, in reality our cities never achieved equality for all, because our cities were never designed that way. Still cities ought not to be a place that tolerates inequality or injustice”.
This short essay, written by the author and critic Jonathan Glancey, coincides with the launch of the inaugural Architecture Drawing Prize – a competition curated by the World Architecture Festival, the Sir John Soane's Museum, and Make. The deadline for the award is the 17th of September 2021.
“Is graphicacy a word?” asks Ken Shuttleworth, founder of Make Architects and instigator of The Architecture Drawing Prize. It is. “Like literacy”, he says, “, it’s certainly what I’m interested in when looking at and judging drawings. It’s about a fluency in making and understanding them.” The Architecture Drawing Prize is in its fifth year now. “We tend to see very few hand drawings by young architects - they mostly use computers - and, today, most architectural students come from more of a maths and physics than an art background. I still believe, though, that hand drawing is very important.”
The European Commission and the Fundació Mies van der Rohe have announced the second list of 85 works competing for the 2022 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. Joining the batch of first nominations announced in February 2021, the full list comprises now of 532 competing works for the EU Mies Award 2022. The shortlist of 40 will be announced in January 2022, the winners in April 2022, and the Award ceremony will take place in May 2022.
Graphisoft, the leading Building Information Modeling (BIM) software solution developer for architecture, has announced the full speaker list and agenda for the Building Together 2021 digital event. Scheduled for September 14-16, and offered at no charge, the carefully curated online program will cover a range of topics of interest to today’s AEC professionals, including sustainability, integrated design, Building Lifecycle Intelligence, and the future of architecture education.
To reduce the “green” half of Sweden’s carbon emissions caused by the forest industries, Anders Berensson Architects have proposed to build the worlds largest timber structure titled the Bank of Norrland. The design aims to store carbon dioxide and a year's worth of timber production, ensuring the continuity of the Swedish construction and manufacturing industries regardless of weather and consumption.
The Royal Institute of British Architects has announced the 54 winners of the 2021 RIBA National Awards, highlighting the UK's best new architecture. Ranging from single homes and housing schemes to educational facilities, cultural buildings, sports venues and medical centres, this year's projects illustrate a growing preoccupation with restoration and adaptive reuse, as well as a significant investment in education and culture. Inaugurated in 1966, the awards provide insight into UK's architectural environment and the economic trends shaping the AEC industry.
Researchers credit the Hanging Gardens of Babylon as the first examples of green roofs. Although there is no proof of its exact location and very little literature on the structure, the most accepted theory is that King Nebuchadnezzar II built a series of elevated, ascending terraces with varied species as a gift to his wife, who missed the forests and mountains of Persia, their local land. According to Wolf Schneider [1] the gardens were supported by brick vaults, and under them, there were shaded halls cooled by artificial irrigation of the gardens, with a much milder temperature than the outside, in the plains of Mesopotamia (present-day Iraq). Since then, examples of green roofs have appeared all over the world, from Rome to Scandinavia, in the most diverse climates and types.
Nevertheless, inserting plants on roofs is still viewed with suspicion by many, as they are thought to be costly and difficult to maintain. Others, however, argue that the high implementation costs are quickly offset with savings in air conditioning and especially that occupying the building's fifth façade with vegetation is, above all, a rational solution. In any case, the question remains as to how green roofs can really help with climate change.
In this week's reprint from Metropolis, author Leilah Stones explores how across the globe, architects, designers, and planners are redefining what it means to be an advocate in the design profession, listing 6 initiatives that practice design justice.
Henning Larsen has been creating projects that address cross-cultural design, tackle diverse climatic zones, and try to achieve ambitious sustainability objectives. All of this wouldn’t be possible without the use of technology and specially crafted digital and generative design tools that allow architects to treat any element as a parameter in design.
In a special interview with ArchDaily, Jakob Strømann-Andersen, Partner and Director of Henning Larsen’s Innovation and Sustainability Department talks about digital tools and their incorporation in the design process. Focusing specifically in this conversation on Sandworm, a new modeling program that uses sandboxes, Anderson explains how they have achieved to scan and directly transfer manipulated landscapes into a 3D model.
In an effort to create a high-impact solution during the current global pandemic, the Peru-based Grupo LAMOSA decided to generate a line of ceramics with antiviral properties of Copper Nanoparticles (NanCu). The team decided to kick-off the distribution of BIO-C29 technology through its range of BIO-CER products. This solution was achieved through a collaboration between Mauricio Méndez (Industrial Director) and Jenny Morales (LATAM Technical Manager) from Cerámica San Lorenzo-Grupo LAMOSA, in conjunction with Nano Quantum Group SpA. The result is a capable protective layer that considerably eradicates infectious agents, creating disinfected architectural spaces free of health hazards.
Aedas has unveiled Shenzhen C FutureCity, a two-phase project in Futian's Shangsha Village, Shenzhen. The design highlights how we "converse with the future and render a unique shopping experience that advances the development of the city" by creating an urban lifestyle center nestled between residential and corporate towers.
A large seabird gazing towards the sky appeared in the Cortile d’Onore in Milan as a metaphor for life retaking its course in the post-pandemic world. Designed by MAD Architects, the installation titled “Freedom” is a nod to inclusiveness and borderless, as well as a playful symbol of hope. In addition, for the 2021 edition of Milan Design Week, the studio taps again into furniture design with two projects, “Meteor” and “Gu Table”, created in collaboration with Dior and Sawaya & Moroni, respectively.
Islamic architecture has long been acknowledged as one of the most significant and influential typologies that translates the religion's core teachings and beliefs into structures. One of the most striking characteristics of architecture in the Islamic world is the focus on interior spaces. Whether it is a methodical organization of interior layouts to make use of natural light and ventilation, or the intricate detailing of ornamentation through carvings and paintings, the contrast between exterior and interior is palpable. However, one particular architectural feature defies the norms of modest facades, and stands as a strong visual statement of the presence of Islam. The minaret's distinctive structure strengthened its presence as a focal point, guiding people towards the religion's holiest space. In this article we will explore the reason behind the use of minarets and how its function has evolved culturally and architecturally.
The choice of Lacaton & Vassal to receive the 2021 Pritzker Prize was, above all, emblematic. Under the mantra “never demolish, never remove or replace, always add, transform and reuse”, the French duo built a career focused on renovating buildings, providing them with spatial quality, efficiency and new programs. Their approach contrasts with most of the architecture we are used to honoring: iconic, imposing and grandiose works. It also contrasts with the notion of the tabula rasa, of building and rebuilding from scratch, so well represented in Le Corbusier's Ville Radieuse, and which has fascinated architects and urban planners ever since.
Whether because of the sustainability demands currently in vogue, or simply because there are already enough buildings around the world, the task of rehabilitating spaces and buildings has been seen as an important driver of change. The focus is generally to center efforts on interior spaces, paying special attention to the environmental quality and comfort of the inhabitants, in addition to adapting the uses to contemporary demands. The main question revolves around how to update (and even automate) the buildings of the past to adapt to new needs for efficiency, sustainability and well-being.
Creating a compelling visualization that communicates your design intent and gets stakeholders on board is no easy feat. While designers have plenty of visualization tools to deploy— from powerful rendering engines to the simplicity of pen and paper — there’s no one-size-fits-all approach to visualization. As your design evolves, you may need multiple renderings at various levels of detail.
According to Jim Kessler, Director of the Visual Media Group at Jacobs, "When a design is in flux and conversations with the clients are taking place, a photorealistic rendering signals completion of the project and that design changes are no longer possible. Whereas, a non-photorealistic rendering visual suggests a sense of flux and has a huge artistic element to it, which architects gravitate towards."
