As one of the most revered and often reviled architects of the latter part of the 20th century, Peter Eisenman has courted controversy throughout his 50-year career, often attempting to distance himself from the work of his contemporaries and standing in firm opposition to popular trends. In this interview, Eisenman elaborates on his beliefs about architecture and the new direction he has taken in recent years – while simultaneously pulling no punches when discussing the work of others, including Rem Koolhaas, Richard Meier, and even his younger self.

The interview is a shortened version of the latest of three interviews with Peter Eisenman (from October 2003, June 2009, and February 2016) that comprise the upcoming book by Vladimir Belogolovsky “Conversations with Peter Eisenman.” The book, published by Berlin-based DOM Publishers will be presented during the opening days at the 15th Venice Architecture Biennale in late May this year.

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The majority of our built environment is designed for people who hear, with little regard for how the hearing-impaired navigate a space. But what would a space look like if it were designed for the deaf? This video from Vox and Curbed focuses on Gallaudet University, the world’s only liberal arts institution for the deaf, and the ways the campus is tailored to the needs of its students. By analyzing what they refer to as “Deaf Space,” the university has been able to pinpoint techniques that not only make communication and wayfinding simpler for the deaf, but to produce spaces that function more effectively and comfortably for everyone. For more on the university and how its members are impacting the architecture world, read the full article over at Curbed here.

UPDATE: The videos are no longer available on YouTube. :(

Over the past 20 years, many of the most renowned European cultural institutions - including ARTE France, Les Films d’Ici, the Louvre, the Ministry of Culture and Communication Department of Architecture and Heritage, Centre Pompidou, City of Architecture and Heritage, Musée d'Orsay and the Fundació Mies van der Rohe - have come together to produce more than 50 architecture documentaries devoted to the most significant achievements of architecture, its beginnings, and the latest creations of the great architects of today. Now, these videos are accessible to the public via the YouTube Channel ACB (Art and Culture Bureau).

Each documentary is approximately 26 minutes long, and focuses on the genesis and impact of a single building that has played a role in the evolution of architecture. Narration is in English, and many of the videos of newer buildings feature interviews with the architects themselves. Check out some of the videos below, or find the entire list here.

Japan-based Komatsu Seiten Fabric Laboratory has created a new thermoplastic carbon fiber composite called CABKOMA Strand Rod. The Strand Rod is a carbon fiber composite which is covered in both synthetic and inorganic fibers and finished with a thermoplastic resin. The material has been used on the exterior of Komatsu Seiten’s head office.

Of course, the top story in recent weeks has been the sudden death of Dame Zaha Hadid, who passed away last week in Miami. At just 65 years of age, and at the height of her powers as an architect, the news of Hadid’s passing was a shock to many and unsurprisingly was met with grief from many of our readers. Read on to see what tributes those readers left, along with opinions on other stories from recent weeks.

Earlier this week, the Supreme Court of Sweden ruled against Wikimedia Sverige in a landmark case over “Freedom of Panorama,” a ruling which The Wikimedia Foundation has “respectfully disagreed with” in a blog post. The Swedish Supreme Court’s ruling, in short, states that Wikimedia Sverige is not entitled to host photographs of copyrighted works of art on its website Offentligkonst.se, which provides maps, descriptions and images of artworks placed in public spaces in Sweden.

The concept of freedom of panorama describes a provision in copyright law which extends the right to take and to disseminate photographs of copyrighted works provided those photographs were taken in public spaces. Most people who own a camera (in other words, most people) have probably given very little thought to their freedom of panorama, or any restrictions that may have been placed upon it. But the reality of this little-known copyright-related oddity is something that many people, and architects especially, should find very concerning indeed.

Looming over the small Bavarian town of Hohenschwangau are the turrets and towers of one of the world’s most famous “fairytale” castles. Schloß Neuschwanstein, or “New Swan Stone Castle,” was the fantastical creation of King Ludwig II – a monarch who dreamed of creating for himself an ideal medieval palace, nestled in the Alps. Though designed to represent a 13th-century Romanesque castle[1], Neuschwanstein was a thoroughly 19th-century project, constructed using industrial methods and filled with modern comforts and conveniences; indeed, without the technological advancements of the time, Ludwig could never have escaped into his medieval fantasy.[2]

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Two conceptual plans designed by OMA have been unveiled for the redevelopment of Washington DC's 190-acre Robert F. Kennedy (RFK) Stadium-Armory Campus site. Released by Events DC, the official convention and sports authority for the District of Columbia, the phased design concepts aim to "leverage the District's waterfront, provide neighborhood serving amenities and connect the current site with increased and sustainable green space, flexible recreational fields and natural access to pedestrian-friendly paths."

In his new book Landscape as Urbanism, Charles Waldheim, the John E. Irving Professor and Chair of Landscape Architecture at Harvard University’s Graduate School of Design, argues that in order to understand the twenty-first century metropolis, “a traditional understanding of the city as an extrapolation of architectural models and metaphors is no longer viable given the prevalence of larger forces or flows. These include ruptures or breaks in architectonic logic of traditional urban form as compelled by ecological, infrastructural, or economic change.”

In other words, spatial constructions in urban environments should no longer be attached to intractable functions or intent on isolation, but should instead integrate into the fabric of the city. These types of projects must be flexible to the inevitable changes in functionality and purpose that are byproducts of economic change and evolutions in land-use intentions. The dozen projects featured here are exemplary of such practices, both in how they adapt to past interventions and in how they move beyond the notion of a static future for urban conditions that are perpetually in flux.

This article by Bart Lootsma and Katharina Weinberger sheds light on their plans as curators for the Montenegro Pavilion at the 2016 Venice Biennale.

Near Montenegro's most southern town Ulcinj sits the former saline "Bajo Sekulic," a completely artificial, man-made biotope which has taken on almost global importance as a crucial node in the migratory patterns of birds. As such, the Solana Ulcinj is the front line of all kinds of conflicts: between nature and culture; the local and the global; economy and environmental awareness.

The Project Solana Ulcinj, commissioned by Dijana Vucinic and the Ministry of sustainable development and tourism and curated by Bart Lootsma and Katharina Weinberger, is the Montenegrin contribution to the 15th International Architecture Exhibition of the Biennale di Architettura. The Montenegrin pavilion hosts four projects outlining four different sustainable futures for the Solana Ulcinj, developed specially for the Biennale by four practices: ecoLogicStudio from London, LOLA form Rotterdam and LAAC from Innsbruck, while a fourth project will be decided following a national competition in Montenegro. The project is accompanied by a series of three symposia in Montenegro and in Venice.

The search to connect with nature has been of great value to architecture, not only in terms of respecting and enhancing the natural conditions of a place, but also in creating a holistic relationship between the user and the space.

For the March Project of the Month, we recognize a residential project located in a unique landscape: the Tepozteco area in Mexico. In this project, the architecture connects with nature through a building that blends with the surroundings, while at the same time engaging with the setting in a unique way.

A total of 150 eighteenth and nineteenth century listed wooden buildings remain under protection in Moscow today. Modern city dwellers see only remnants of pre-revolution Moscow, which stayed almost entirely wooden until the early seventeenth century. This is one of the reasons why the Museum of Architecture and Kuchkovo Pole publishing house have joined forces to release a two volume set named Wooden Russia: A Glance Back From the 21st Century.

The first volume contains stories of expeditions and research projects studying the early period of Russian architecture, reports from open-air museums and articles on religious and traditional architecture practices. The second book focuses on neo-Russian architectural style, club architecture, Soviet intelligentsia dachas, and modern park buildings. Shchusev State Museum of Architecture researchers Zoya Zolotnitskaya and Lyudmila Saigina—experts on eighteenth, nineteenth and early twentieth century architecture—agreed to share the stories of ten wooden buildings which managed to survive in the centre of Moscow to this day.

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The Danish Building & Property Agency with the Aarhus School of Architecture have announced the three winning teams of the open competition to design the NEW AARCH project. These designs include new buildings for the Aarhus School of Architecture and the development of the surrounding area in Aarhus known as Godsbanearealerne.

At the Chicago Architecture Biennale, David Brown’s project “The Available City” addressed the fact that Chicago currently owns 15,000 vacant lots, many of which have become “havens for illegal dumping, weeds, rodents and street crime.” In this article, originally published on Autodesk’s Line//Shape//Space publication, Jeff Link takes a look at Brown’s project, examining its unique approach to developing the empty lots and converting them into public space.

David Brown’s Chicago Architecture Biennial project, The Available City, responds to a striking fact: Chicago, in an exodus story echoed across the rust belt, owns 15,000 vacant lots.

The parcels, many of them on the South and West Sides, don’t generate tax revenue, but the city is obliged to maintain them. Outside the watch of homeowners, many are havens for illegal dumping, weeds, rodents, and street crime.

Chicago hasn’t exactly turned a blind eye, says Brown, associate director of the University of Illinois at Chicago’s School of Architecture and the author of Noise Orders: Jazz, Improvisation, and Architecture. Through the Large Lot Program—a pilot that began in Chicago’s Englewood, East Garfield Park, and Austin neighborhoods—individuals and nonprofits that live on the same block as a city-owned vacant residential lot can buy select pieces of land for a dollar.

It’s a compelling idea, and through it and the related Adjacent Neighbors Land Acquisition Program, about 1,000 lots have been purchased in the past five years. But Brown says the city can do more; he suggests thinking of architecture and urban planning like jazz: a formal compositional structure inside of which experimentation can take place.

Alvar Aalto was born in Alajärvi in central Finland and raised in Jyväskylä. Following the completion of his architectural studies at the Helsinki University of Technology he founded his own practice in 1923, based in Jyväskylä, and naming it Alvar Aalto, Architect and Monumental Artist. Although many of his early projects are characteristic examples of 'Nordic Classicism' the output of his practice would, following his marriage to fellow Architect Aino Marsio-Aalto (née Marsio), take on a Modernist aesthetic. From civic buildings to culture houses, university centers to churches, and one-off villas to student dormitories, the ten projects compiled here—spanning 1935 to 1978—celebrate the breadth of Aalto's œuvre.

Zaha Hadid's sudden passing has led to an outpouring of heartfelt tributes from some of the profession's most prominent figures. A "brave and radical" trailblazer, and the first woman to win the Pritzker Prize, Hadid's significant impact on the world of architecture is undeniable. She will be missed.

"We are all shocked and devastated that we lost Zaha today, a most beautiful individual, talent, leader and friend," Patrik Schumacher, Director of Zaha Hadid Architects, wrote on Facebook.

We will continue to update this link as more tributes come in. 

In this post originally published on Metropolis, former ArchDaily Managing Editor Vanessa Quirk explores a client's expectations, and how Nicholas Grimshaw treated them--in both built and book form.

It is not often a client states that their aim is “to build the indeterminate building.” But so Max De Pree, the son of Herman Miller founder D.J. De Pree, expressed his hope for his company’s new manufacturing facility in 1975. Following the ideas of designers such as Charles and Ray Eames and Alexander Girard, De Pree compiled a long list of philosophical guidelines for the project, which he summed up under the laconic heading, “A Statement of Expectations.”

The young architect Nicholas Grimshaw, who had been hand-picked by De Pree for the project, was immensely inspired by the Statement, particularly its emphasis on the longevity and flexibility of the facility, its integration into context (the city of Bath, England), and the necessity for the building to empower its workers. In Grimshaw’s response to the brief, he noted: “Many of the views expressed about the well-being of the users, flexibility, and non-monumentality agree very closely with the approach we have built up since the founding of our practice ten years ago. We feel particularly that any new building should not impose itself on the occupiers, but that it should be a tool in their hands.”

Too often community engagement can be seen as an afterthought, carried out in a dull and unengaging way. But does it always have to be this way? In this article from ArchitectureBoston’s Spring 2016 Issue, originally titled “Bring on the joy: Civic engagement strategies in the age of Twitter,” Russell Preston makes a case for more dynamic public engagement, citing several examples where “engagement is actually the process” rather than just a “required step to a planning process.

In New England, changing zoning is more difficult than sending someone to the moon. In the spring of 2015, Dan Bacon, planning director for Scarborough, Maine, asked for help implementing a better zoning code for Higgins Beach, a picturesque community of largely seasonal residents. Outdated regulations were putting its historic character in jeopardy. Different tactics were needed to successfully change the zoning before the next season of construction.

The hard task was helping the residents understand that they controlled future development with their own regulations. Change like this takes trust, and my team did not have months to build that trust. The best tactic? Become locals. We decided to live in the neighborhood, and in June of 2015, we rented a cottage with a large living room to host a multiday planning charette. Every meeting, presentation, and workshop was held in that cottage.