Sir David Adjaye has designed a new memorial in Brixton to honor the life of Cherry Groce. The project will be sited in Windrush Square as a tribute to her life, an innocent mother who was shot in her home in 1985 by the Metropolitan Police. The new memorial will be designed to act as a beacon of hope in the pursuit of equality, justice and truth.
The COVID-19 pandemic quickly shuttered the doors of businesses, schools and workplaces across the world. From telecommuting to virtual events, cities have experienced less noise, traffic and pollution. Filmmaker and Director Jeff Durkin of Breadtruck Films recently began to capture these quiet moments on the University of California San Diego campus. Taking inspirations from science fiction series Tales from the Loop, he set out with his children to explore over 100 acres of modern architecture.
New Generations is a European platform that analyses the most innovative emerging practices at the European level, providing a new space for the exchange of knowledge and confrontation, theory, and production. Since 2013, New Generations has involved more than 300 practices in a diverse program of cultural activities, such as festivals, exhibitions, open calls, video-interviews, workshops, and experimental formats.
New Generations launches a fresh new media platform, offering a unique space where emerging architects can meet, exchange ideas, get inspired, and collaborate. Recent projects, job opportunities, insights, news, and profiles will be published every day. The section ‘profiles’ provides a space to those who would like to join the network of emerging practices, and present themselves to the wide community of studios involved in the cultural agenda developed by New Generations.
ArchDaily and New Generations join forces! Every two weeks Archdaily publishes a selection of studio profiles chosen from the platform of New Generations.
The COVID-19 Pandemic is a disruptive moment for our world, and it’s poised to spur transformative shifts in design, from how we experience our homes and offices to the plans of our cities. The webcast series Design Disruption explores these shifts—and address issues like climate change, inequality, and the housing crisis— through chats with visionaries like architects, designers, planners and thinkers; putting forward creative solutions and reimagining the future of the built environment.
Episode 2 will be streamed online on ArchDaily, YouTube and Facebook today, Monday, July 6, at 12 pm EST, and will focus on the future of the office. Our guests will be Eliot Postma, partner at London-based Heatherwick Studio, and Verda Alexander, co-founder of San Francisco-based Studio O+A.
Hungarian analyst and cartographer Robert Szucs shared with ArchDaily another of his series of maps, this time addressing the population distribution on Earth. A large blackboard, identifying only the geopolitical boundaries of countries and continents, reveals bright constellations, representing human agglomerations and the world's great voids.
Although chemist and inventor Otto Rohm had first come up with the idea for plexiglass in 1901, it wasn’t until 1933 that the Rohm & Haas company first introduced it to the market under the trademark name Plexiglas. The material, which is considered a lightweight and shatter-resistant alternative to glass, has had a fascinating history and experienced a multitude of different uses in that time. Today, plexiglass continues to be utilized in new and interesting ways, including as a potential means with which to help combat coronavirus spread. Restaurants, stores, and other businesses have begun using plexiglass partitions as protective shields for both workers and customers, especially as cities and towns slowly reopen. Below, we dive into this unusual material, addressing its material properties, its history, and the ways it continues to be used today.
Luís Pedro Pinto has won the tender to expand The Order of Architects Headquarters in Lisbon, Portugal. Selected out of 66 works presented, part of a public design competition, the project, according to the jury, was praised for “its cohesion, coherence and unitary image”.
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CHYBIK + KRISTOF ARCHITECTS & URBAN DESIGNERS have been selected as the winners of the public competition to design and build the Jihlava Multipurpose Arena. One of the largest sports and leisure complexes in the Czech Republic, the project, built on the city’s existing hockey stadium, is scheduled for construction in 2021, to be completed by 2023.
The Australian Institute of Architects has announced the winners of the 2020 NSW Architecture Awards. Celebrating the best of the state's architecture across 13 different categories, a total of 41 awards and 32 commendations have been given this year. Held on the evening of Friday, July 3rd, the NSW Chapter live-streamed the awards presentation, allowing the public to freely join what is normally a members-only event.
Over the past two centuries, cities in China have multiplied and expanded on a large scale, under accelerated urbanization. Mass demolition of the old city fabric, occurring everywhere, is leaving industrial debris and fragmented cultural artifacts buried forever, under shiny new skyscrapers. As old Chinese cities are collapsing and new urban centers are outspreading, a part of the city was lost, the old demolished landscape. Wang Shu and Lu Wenyu, the first Chinese citizens to win the Pritzker Architecture Prize, responded to this past-present relation by working with recycled materials and traditional know-how. In the following, we explore some of this couple's renowned works such as Ningbo History Museum, Ningbo (2008), Xiangshan Campus of China Academy of Art, Hangzhou (2004), and Ningbo Contemporary Art Museum (2005), to examine his humanistic approach to the city.
The following text was drafted in response to the initial prompt in The Architect's Newspaper’s “Post-Pandemic Potentials” series.
Barely a few weeks ago, while self-isolating in London during the grimmest, darkest day of the pandemic, I was among the many who saw the ongoing catastrophe as the final collapse of the mechanical age—or more precisely, of that period in the history of the industrial revolution that is now often called the Anthropocene, characterized by standardized mass-production, global mechanical transportation, and the unlimited burning of fossil fuels. We all thought that the demise of the Anthropocene would be brought about, incrementally, by global warming—which might, perhaps, have given us the time to mitigate or counteract the consequences of climate change and the exhaustion of natural resources. Instead, the end of the machine-made environment came all of sudden, the space of a fortnight, not by way of climate change and global warming but by way of viral change and global infection. When COVID-19 came, and a number of nation-wide lockdowns went into effect (around mid-March in Europe), the entire infrastructure of the industrial world as we knew it suddenly shut down: Planes stopped flying, factories stopped producing, schools, stores, and offices were evacuated and left empty. Yet life carried on, somehow, for those who were not infected, because farming, local artisan production, food distribution, utilities, telecommunications, and, crucially, the internet kept functioning.
The images that some visualizers have been presenting have allowed people to be fully immersed in virtually-built environments; exploring the space, observing how the sun rays create a dialogue between light and shadow, experiencing what they might hear or feel as they walk by one room to another, all before excavation work begins and the first block is laid.
In an exclusive interview with ArchDaily, Luxigon's Eric de Broche des Combes talks about his career, creating amplified visualizations and how they influence a project, and what the future holds for the industry.
Arizona is located in the western region of the United States. It has geographical borders with Utah, Colorado, and New Mexico, in the United States, as well as with Sonora in Mexico. The state is also situated on the Sierra Madre Occidental and is home to a segment of the Colorado River, as well as the Grand Canyon. Part of Aridoamerica, Arizona's landscape is composed, in its majority, of Cactaceae and desert species.
We are in an unholy mess. It is a pandemic, with insane politics, and centuries of hideous racial injustice screaming out humanity’s worst realities. Each day reveals more disease, more anger, more flaws in our culture than anyone could have anticipated.
This season’s inscrutable fears are uniquely human. The natural world flourishes amid our disasters. But architecture is uniquely human, too. Architecture’s Prime Directive is to offer up safety. So in this time of danger, it is a good idea to think about the flip side of so much profane injustice and cruelty, Sacred Space? Architecture can go beyond playing it safe and aspire to evoke the best of us, making places that touch what can only be defined as Sacred.
What is Sacred Space? Whether human-made or springing from the natural world, Sacred Space connects us to a reality that transcends our fears. The ocean, the forest, the rising or setting sun may all define “Sacred”. But humans can make places that hold and extend the best in us beyond the world that inevitably threatens and saddens us. Architecture can create places where we feel part of a Sacred reality.
For several years, Rosi Pachilova has been looking into and building upon the tools we use to analyse and configure layouts for our built environment. Together with Dr Kerstin Sailer, a reader in Social and Spatial Networks at the Space Syntax Laboratory, UCL, she has developed a tool that can assess spatial proposals for their impact on the quality of care of healthcare providers. In 2019, their work was awarded the RIBA President’s Award for Research in the Building in Quality category.
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Created by Argentinian photographer and visual artist Federico Winer, Ultradistancia, the fine art project based on high-resolution satellite images, has released its latest series “Monsters of Mine”. Showcasing pictures of large mines from all over the world, "Monsters of Mine" reveals a fascinating carved out topography.
John Wardle Architects has designed a pair of two new building for the University of Tasmania. Created as part of the extensive redevelopment of the Inveresk campus in Launceston, the buildings are strategically located within and between existing campus facilities to amplify the shared opportunities of the precinct. The cornerstone buildings will house a significant portion of the University of Tasmania’s teaching and research activity in Inveresk.
The relationship between space and well-being has always been a key consideration at IE University’s School of Architecture & Design. As this concept becomes increasingly widespread, the boundaries of what’s possible are being pushed. By providing students with a global vision of architecture and design, they are able to create multipurpose spaces that boost well-being and remain flexible as needs evolve.
As far as written records report, “prehistory” dates back between 35,000 BCE and 3000 BCE in the Middle East (2000 BCE in Western Europe). Ancient builders had a profound understanding of human responses to environmental conditions and physical needs. Initially, families and tribes lived together in skin-covered huts and bone structures. Thousands of years later, human settlements evolved into fortified mud-brick walls surrounding rectangular volumes with pierced openings for ventilation and sunlight.
During the upcoming months, we will be publishing short articles on the history of architecture and how it evolved to set the fundamentals of architecture we know today. This week, we are going back to one of the most prominent and influential periods known to architecture: Greece; Aegean, Archaic, classical, and Hellenistic periods.
This article originally appeared in The Genetics of Design and was then republished by Common Edge.
Since 2015, Ragusa, Sicily has hosted FestiWall, an international art festival devoted to enhancing the public realm and improving citizen engagement with the modern section of an old city. The image above shows two views of a residential tower before and after FestiWall. Which one grabs your eye?
We’ll guess you’re drawn to the one with the art at right. Running the image through biometric software predicts you’ll immediately focus on the man in the mural.
Strelka hosts online public presentations of The Terraforming 2020 program to showcase the results of five months of research, investigation and creative exploration.
The two events will premiere projects by 9 multidisciplinary teams and 4 research fellows. The work presented will cover a range of topics of space and sci-fi, artificial food and landscapes, geo- and macro-engineering, and range from speculative design proposals, to cinema, to legal frameworks, to practical propositions for intervention.
The presentations will be accompanied by keynotes from the faculty of The Terraforming – Benjamin Bratton, Lisa Messeri, Jussi Parikka, Helen Hester and Kim Stanley Robinson.
As a part of the XV Taller Social Latinoamericano architectural conference that took place in Puno, Peru, we visited the Iruito Tupi zone in Huancané province alongside Francisco Mariscal, Director of the Puno Cultural Center. For the conference, Mariscal gave a presentation on the history of putucos, pre-Columbian houses made with a mixture of earth and grass.
History has the habit of repeating itself; using the same script, just with different names, figures, and places. Some 10,000 years ago, the Altiplano and the Titicaca lake basin, wedged between modern day Peru and Bolivia, became home to hunters and gatherers who subsisted on the herds of llamas and vicuñas as well as the bounty of birds and fish.
Ronald Lu & Partners has announced the completion of phase one of Tianhui TODTOWN: China’s first transit-oriented development, after 13 years of collective effort. The project promoting sustainability, mass transit, and community in Shanghai, takes the concept of public transit-oriented development (TOD) important in the development of China’s urban areas to the next level.
The Russian Federation Pavilion announced that its exhibition Open! will "move to an entirely online presence". Coping with the recent outbreak of COVID-19 that led to the postponement of the Venice Biennale 2020, the pavilion will transform into a digital platform, to ensure the continuation of the projects.
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