The question of whether the traditional museum survive in the digital age has been bounced around since the dawn of digital art and archiving. In an article for The Independent, Christopher Beanland examines the issue of a global "museum boom" (especially in China where a new one opens every day), and how this is having an undoubtedly positive impact on people's quality of life. For Beanland, it's curious that "we don't splash out on council houses or universities or hospitals any more – but we do build museums and galleries." Perhaps it's because they are "a reliquary for our collective memories" and "a triumph of our collective will" or, in most cases, because they employ excellent PR and branding strategies. He notes that "despite being swamped by possessions, we've changed our views towards those things. In the second half of the 20th century, people defined themselves by what they had. But today people increasingly define themselves by what they do."
The Pazzi Chapel is a landmark of architecture in the city that was once the cradle of the Italian Renaissance: Florence. Located in the Santa Croce church complex (the largest Franciscan church in the world), the chapel was designed by Filippo Brunelleschi - the goldsmith-turned-architect who dedicated his life to engineering the dome of Florence's Santa Maria del Fiore. It is "a prime example of 15th-century architectural decoration in grey pietra serena sandstone, colourful maiolica, and terracotta."
550 years have taken their toll on this structure and its decoration. Concern for the state of the loggia of the chapel is now so great that the non-profit institution in charge of the church’s administration - the Opera di Santa Croce - have raised 50% of the funds needed to carry out a restoration, set to begin in early 2015. They are now looking to crowdfunding to source the remaining half ($95,000) and, in so doing, are inviting people from around the world to become part of the 720-year-long history of Santa Croce.
Fundamentals, the title of the 2014 Venice Biennale, will close its doors in a matter of days (on the 23rd November). From the moment Rem Koolhaasrevealed the title for this year’s Biennale in January 2013, asking national curators to respond directly to the theme of ‘Absorbing Modernity 1914-2014’, there was an inkling that this Biennale would be in some way special. Having rejected offers to direct the Biennale in the past, the fact that Koolhaas chose to act not only as curator but also thematic co-ordinator of the complete international effort, was significant. This announcement led Peter Eisenman (one of Koolhaas' earliest tutors and advocates) to state in one interview that “[Rem is] stating his end: the end of [his] career, the end of [his] hegemony, the end of [his] mythology, the end of everything, the end of architecture.”
Renzo Piano Bulding Workshop / OMA / UNStudio / Siza / Mecanoo. Image
The Dutch city of Rotterdam, often referred to as a hotbed of architectural activity, has been named as the best city in Europe by The Academy of Urbanism at the 2015 Urbanism Awards. Pitted against two other finalists - Aarhus in Denmark and Turin in Italy - the city has been praised for its "predominantly young, open, tolerant community that is embracing innovative architecture and urban design and new business models."
Despite being a very closely fought battle, the Academy said that Rotterdam was a vote winner for its "unique approach to governance. Appointed for six years by central government, the role of mayor sits outside of political structures and with no portfolio, allowing greater engagement with citizens and businesses." Steven Bee, Chairman of the Academy, said that "a long-term perspective, a high level of autonomy, strong leadership by the mayor and municipality, and strong partnerships between public and private sector, are all helping Rotterdam grow positively."
What is Architecture? (WIA), a small collection of interviews with influential architects from around Europe, seeks to "provide clear and concise information about architecture", thereby "forming a panoramic view of today's architectural thinking." Set up by three students of architecture residing in Innsbruck, the WIA team have interviewed the likes of Patrik Schumacher (Zaha Hadid Architects), Sir Peter Cook (CRAB Studio), Jacob and Nathalie van Rijs (MVRDV), and Ben van Berkel (UNStudio). Their collection, though small, is continually expanding.
See a selection of WIA's interviews after the break (or see the entire collection here).
Videos
Vision of the masterplan (commissioned in 2007). Image Courtesy of Bristol Temple Quarter
Five practices have been shortlisted to put forward designs for the Bristol Arena, a cultural and sporting hub which is set to have a 12,000 seating capacity and is due to open towards the end of 2017. The city's Mayor, George Ferguson (who is himself an architect-turned-politician), has said that "we now have five very capable and talented design teams with a wealth of experience between them drawing up proposals" that will contribute to the regeneration of the city's Temple Quarter Enterprise Zone (a site close to Temple Meads Station). The five shortlisted multi-disciplinary design teams are consortiums experienced in delivering major cultural venues in the UK or overseas. A team led by Populous, who completed the London 2012 Olympic Stadium, are running in collaboration with Feilden Clegg Bradley, who were shortlisted for the 2014 RIBA Stirling Prize. They are competing against teams led by Grimshaw and Wilkinson Eyre, who recently installed a cable-car across London's Millennium Dome.
The Observer'sRowan Moore "accidentally got swept into a tide of humanity at the weekend, or to put it another way, couldn’t move for crowds." In memorial of the start of the centenary of World War One, of which today marks the anniversary of the armistice (11.11.1918), the Tower of London have installed a sea of 888,246 ceramic poppies in the former moat. The artwork, created by Paul Cummins and Tom Piper, and entitled Blood Swept Lands and Seas of Red, "has caught the national imagination." For Moore, however, "it is deeply disturbing that a hundred years on from 1914, [the UK] can only mark this terrible war as a national tragedy." He argues that "the spectacle of all these red poppies is emptier than that. [...] It is a deeply aestheticised, prettified and toothless war memorial." Read the article in full here.
In an article for The Walrus, Adele Weder examines Antoine Predock's (who was recently made a National Academy Academician) Canadian Museum for Human Rights: a "colossal, twelve-storey mountain of concrete and stone, 120,000 square feet of tempered glass, and 260,000 square feet of floor space." Early advocates of the museum "felt that Winnipeg was ripe for such a statement piece," just as Bilbao had been for the Guggenheim. Welder's explorations are clear and concise, finding all sorts "of paradoxes swirling around the Museum for Human Rights." Noting that "it’s definitely a kick-ass building, with its aggressive outer form, jagged paths inside, big black slabs of basalt, thick sheets of glass, and the huge metal girders that hold it all together," Weder argues that it's position as a "failed memorial and white elephant" may be it's eventual undoing.
Tom Bridgen: 'The Protected Vista' - Commendation - RIBA President’s Award for the Outstanding PhD Thesis. Image Courtesy of RIBA
The RIBA President's Awards for Research, established to "promote and champion high-quality research and encourage its dissemination to the profession," have announced the 2014 laureates. Spanning four categories - Master's, PhD, University, and Practice-Located Research - the winning theses and projects highlight the need for research across the profession to nurture innovation and strategic thinking. Ruth Morrow, chair of the jury and Professor at Queen's University Belfast, commented on the judging panel's "disappointment" at the lack of entries submitted from outside London.
The disparity between the six London based schools and those in the rest of the UK (of which there are more than forty high-calibre institutions) continually makes itself manifest in RIBA student awards. In spite of this, half of the awards and commendations given this year are for students studying at schools outside the capital; the remaining half were awarded to students of The Bartlett (UCL). Morrow hopes that "next year, in the 10th anniversary year of the awards, that more universities and practices from across the nations and regions will submit entries."
See this year's winning and commended projects after the break.
Site: Sous-station Voltaire (11e). Image Courtesy of Reinventer Paris
The City of Paris has called upon the architects of the world to propose "innovative urban projects" to reimagine the city's urban future. As the first competition of its kind in the world, Mayor Anne Hidalgo and her Deputy, Jean-Louis Missika, will "select and implement the new forms of buildings that will shape the future of Paris," putting innovation at the top of the criteria. Offering 23 sites, located in the centre of Paris and on the peripheries, the City is convinced that "the challenges faced by the world can be addressed through local answers." According to the Mayor, "from today, world creators are given carte blanche to reinvent the ways of living, working and trading in Paris." "Surprise us!"
The British city of Manchester, often seen as the UK's second city alongside Birmingham, will become the first metropolis outside of London to be given greater local autonomy over budgets and city planning. The devolution deal, which will also see the city receive the right to directly elect a Mayor (in line with large cities in the US, for example), will furnish the city with "a new housing investment fund worth up to £300million." As it is understood that the first Mayor of Greater Manchester will be elected in 2017, there's time to discuss how this new political environment in the UK might help boost building in what has described as a "Northern Powerhouse."
In the third and final installment of their micro documentary series on architecture and water, Ellis Woodman and a team at the Architectural Review (AR) have collaborated with architects, developers, urbanists and thinkers to examine the latent connections between water infrastructure and our built environment. Taking a journey by narrowboat through London, the film explores the radical ideas which may offer the keys to unlocking the potential of the urban waterway. Through recreation, interaction and radical ideas such as floating parks, amphibious houses and new public wetlands can the river become a living part of the city?
The relationship between immortality and architecture is ancient one. Writing in The New Yorker, Alexandra Lange discusses the past and future of cemetery design in relation to a new exhibition on display in New York. Featuring a selection of 1300 individual mausoleum designs stored in Columbia University's archives, Lange notes how "patrons weren’t picky about originality. In the late nineteenth century, memorial companies might just bring back a shipment of angels from Carrara to be distributed among future clients." These "rural estates in miniature" eventually gave way to more contemporary designs which dabbled in Realism and Cubism. What will the people of today house their remains in? For Lange, "the design we take personal pleasure from everyday is now less likely to be architecture and more likely to be an interface." Read the article in full here.
Pixelmator, an app which has been familiar to Mac users since 2011, have released a version of their powerful photo editing software for iPad. Although the App Store is awash with photo editing and manipulation packages, Pixelmator's clean interface and collection of the most used features iPad users require, makes it a good substitute for desktop based software packages when on the move. Alongside allowing image enhancement, a "painting engine, precise colour correction, and live histograms" (allowing you to gauge real-time colour values as you edit), the app also takes step into providing "layers, non-destructive layer styles and a collection of professional-grade selection tools."
The NSA Muscle, an interactive inflatable structure built in 2003 that responded to touch and presence by changing its shape, is the latest subject explored in the Canadian Centre for Architecture's series on pioneering projects of digital architecture. Joining a roster of influential names including Peter Eisenman, Frank Gehry and Chuck Hoberman, this e-book recounts a conversation between Greg Lynn and the author of the project Kas Oosterhuis of ONL [Oosterhuis and Lénárd]. The 'breathing' structure was covered by a grid of 'muscles' that contracted and relaxed in response to external stimulus, combining commercial pneumatics and virtual control technology in new ways to prototype an new kind of interactive architecture.
Discover the story by downloading NSA Muscle for free after the break.
Citizens of central Europe, perhaps uniquely in the world, are used to a life of no borders and free movement between nations. Following two devastating wars fought primarily on European soil, the formation of the early European Union in the 1950s paved the way for a more liberal, less isolated continent. It was not until the signing of the Schengen Treaty in 1985 (which came into effect in 1995) that the majority of borders were truly dissolved and travelling between nations, cultures, and communities became as simple as walking down the road.
Ignacio Evangelista's series of photographs entitled After Schengen examine the remnants of the old, abandoned crossing points that still exist across the Union. No longer necessary to maintain a country's independent sovereignty, and almost twenty years since the revolutionary pact was ratified, these palimpsests of border control remain as striking today as when they when delineated the closed boundaries between nations.
See a selection of the collection after the break...
In the second installment of their new three-part micro documentary series on architecture and water (see the first part here), Ellis Woodman and a team at the Architectural Review (AR) have collaborated with architects, developers, urbanists and thinkers to examine the latent connections between water infrastructure and our built environment. Taking a journey by narrowboat through London, the film explores the radical ideas which may offer the keys to unlocking the potential of the urban waterway. When London has an ever-increasing overwhelming need for growth, how does the densification and gentrification of the city relate to the rivers and canals?
Cruz y Ortis, who famously spent ten years redesigning and renovating Amsterdam's Rijksmuseum, have recently completed a comprehensive restoration of the adjacent Philips Wing. As an addition to the extensive exhibition spaces of the Dutch national museum, which was brought to completion in 2013, the Philips Wing will be dedicated to showcasing high-profile exhibitions from its own collection and on loan from international and national collections. Cruz y Ortiz's work has consisted of reorienting the entrance, accommodating diverse new functions and preparing the exhibition rooms for the temporary expositions starting next month. Several twentieth century interventions have been set back and corrected, whilst other areas have been appropriated for a new destination.
See drawings and photographs of the new wing, including a description from the architects, after the break.
