Given to completed projects, entries can include buildings, interiors, landscaping, refurbishment, urban projects, temporary installations, furniture and product designs. This year the jury was comprised of Catherine Slessor, Hilde Daem, Li Xiaodong, Steven Holl and Will Alsop.
Read on after the break for this year’s Emerging Architecture Award winners.
The European Commission and the Fundació Mies van der Rohe have selected 420 projects to compete for the 2015 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. The nominations span 36 countries, with the most nominated projects coming from Spain. Twenty-seven percent of the shortlisted projects are housing related, while 24% are cultural facilities, 11% are education-related and the remaining 33% are sport, commercial, governmental, transport and urban projects.
Established in 1987 by the European Union, the European Commission, the European Parliament and the Fundació Mies van der Rohe – Barcelona, the 60.000€ Mies Van der Rohe award is one of the most prestigious and important awards for European architecture. The prize is awarded biennially to works that have been completed in the past two years. Previous winners have included the Harpa Concert Hall and Conference Centre in Reykjavik, designed by the Danish architectural firm Henning Larsen in collaboration with the Islandic practice Batteríið and the artist Olafur Elíasson, and the Neues Museum in Berlin, designed by David Chipperfield Architects and Julian Harrap.
An Emerging Architect prize for professionals beginning their career as well as the Young Talent Architecture Prize (YTAP) for the best European master’s projects from 2014 will also be awarded. In addition, this year for the first time the jury will include a client who has supported high quality architecture and commissioned projects to European architects. The jury will select the shortlisted projects by the end of January 2015.
Read on after the break for the members of the jury, the full list of all 420 nominated projects and ArchDaily's exclusive Mies van der Rohe Award infographic.
On a recent trip abroad, architect and urban planner José Castillo was struck by a conversation with Mexico’s tourism attaché in Asia. Mexican tourism, the attaché remarked, has changed; it was the ancient pyramids and sandy beaches of the country that once drew visitors to it. Today however, architecture and design—and food—prevail.
The issue of food may be of little wonder. Mexican cuisine has indeed become more popular than ever in both the high and low ends of the culinary spectrum, and food in general is not only what one eats for dinner but also a hobby and an obsessive conversation topic. Yet for local design to come to the same level of acclaim and reputation is, at any rate, quite astonishing. It may be, though, that food and architecture are not so far apart. These are both highly creative and productive professions, as well as ones with a rich history, a theory, and many layers of tradition.
In their first collaboration together as writer and director, John Hughes and Christopher Columbus produced Home Alone (1990). This quintessential Christmas film is a prime example of a “movie home” -- a home that is made iconic and famous with its appearance in a popular film.
The film concerns itself with Kevin McCallister (Macaulay Culkin), a young boy whose family accidently leaves him home alone after leaving for a vacation. In this small suburban town, on Christmas, their home is targeted after a string of successful break-ins in the neighborhood. The McCallister Residence as a result becomes the central space where the majority of the action in the film occurs.
The production used an actual home for the setting of the film. The home’s location is 671 Lincoln Avenue in Winnetka, Illinois, north of Chicago. The majority of the interiors were filmed on location, including most of the first floor, while several rooms were recreated and filmed on a sound stage. Interiors visited the location in July 2014.
This year there was a cultural shift that saw landscape architecture and its practitioners achieve an unprecedented level of visibility and influence.
This year the single most notable development came courtesy of the New York Times architecture critic Michael Kimmelman who wrote: "Great public places and works of landscape architecture deserve to be treated like great buildings."
Landscape architecture and architecture on equal footing. Let that sink in.
https://www.archdaily.com/577280/2014-a-great-year-for-landscape-architectureCharles A Birnbaum
View above Central Park looking south towards “Billionaire's Row” towers, with Midtown towers in background and various Financial District and Downtown Brooklyn Towers in far background. Image Courtesy of CityRealty
What would a city owned by the one-percent look like?
New renderings for CityRealty get us part way there, illustrating how Manhattan may appear in 2018. The defining feature will be a bumper crop of especially tall, slender skyscrapers piercing the skyline like postmodern boxes, odd stalagmites, and upside-down syringes. What they share in common is sheer unadulterated scale and a core clientele of uncompromising plutocrats.
https://www.archdaily.com/577034/why-new-york-shouldn-t-be-a-city-for-the-one-percentJoshua K Leon
Recently, lots of controversial "Jumbos" have been erected on mainland China, leading most of their creators, architects from Western countries, to be placed at the centre of public discussion. Furthermore, China’s President Xi Jinping's recent comment about "no more weird buildings" has led the Chinese central government into this whirlpool. What can western landmark makers learn from all of this?
We met Joseph di Pasquale, architect of the Guangzhou Circle, in Milan some days after “weirdness” became the most used word in Chinese architecture. In the following edited talk with interviewer Yifan Zhang, the architect of the latest landmark in South China's largest city discusses his new project, the real circumstances in China, and the future for foreign architects.
https://www.archdaily.com/576679/encountering-the-weirdness-in-china-a-talk-with-the-guangzhou-circle-architect-joseph-di-pasqualeYifan Zhang & Dichen Wang
The Smart Cities concept is linked to highly "liveable" cities such as Vancouver superseding more recognizable cities in our collective consciousness. Image Courtesy of SFU
I had a sinking feeling as I was listening to the talks by these prominent figures in the field of smart cities because the city used to be the domain of the architect, and now, frankly, they have made it their domain. This transfer of authority has been achieved in a clever way by calling their city smart – and by calling it smart, our city is condemned to being stupid. Here are some thoughts on the smart city, some of which are critical; but in the end, it is clear that those in the digital realm and architects will have to work together.
Federico Babina is at it again, this time creating a series of 13 Las Vegas-inspired billboards that advertise architectural concepts of the profession’s most prolific contributors. The idea behind ARCHIQUOTE, as Babina describes, was to put words into manifest examples of architectural concepts and aesthetics from Mies van der Rohe to Rem Koolhaas.
“The words can be considered as architecture,” says Babina. “Simple concepts with deep meanings and complex thoughts explained with simplicity…Billboards that evoke a Las vegas of architecture where the phrases guide us to understand a little more the idea hidden behind the work done with volumes and space… In these 13 illustrations are mixed, intersect and integrate aphorisms and shapes in a communicative game.”
"Cyberspace, filled with bugs and glitches – the components of its natural habitat – will form a completely new and previously unknown location when released into a real city – Cybertopia," says Egor Orlov, a current student at the Strelka Institute in Moscow. According to Orlov, the physical world is on the brink of a major technological breakthrough that will revolutionize the way architects conceive of space – closing the gap between analog and digital.
Cybertopia - completed while he was a student at the Kazan State University of Architecture and Engineering under tutors Akhtiamov I.I. and Akhtiamova R.H. and nominated for the Archiprix Madrid 2015 - exists as another dimension for Orlov, where fairy tales come to life and science harmonizes with engineering and architectural design. "Future of an Architecture Space. Cybertopia. Death of Analogous Cities," delves into a fantasy world where the "possibility to fly or walk from one planet to another" becomes an illustrated reality using a combination of drafting-based techniques and a wild imagination.
Enter the hybrid technological-analog world of Cybertopia after the break
First inspired with a grand vision to transform Rio de Janeiro’s most notorious slum into a community united by color, artists Jeroen Koolhaas and Dre Urhahn of Haas&Hahn have found an ingenious and stunning way to empower some of the world’s most impoverished communities through art.
Architecture institutions and architects are outraged by the Norwegian Government plans to demolish a unique part of Norwegian and international architectural history. Called the Y-block for its Y-shaped plan, the building in the Government Quarter in the centre of the Norwegian capital of Oslo was designed by the Norwegian architect and pioneer inventor Erling Viksjø in the 1950s together with the “H-block” or Highrise (1959) and was completed in 1969. The building is internationally well known for the extraordinary craftsmanship of its sandblasted concrete and the famous Pablo Picasso murals, “The Fishermen” and “The Seagull”.
To celebrate the first anniversary of our US Materials Catalog, this week ArchDaily is presenting a three-part series on "Material Masters," showing how certain materials have helped to inspire some of the world's greatest architects.
Le Corbusier's love affair with concrete, evident in a number of his nearly 75 projects, began early. Having already designed his first house, the Villa Fallet, at the age of just 17, in 1907 the young architect embarked on a series of travels throughout central Europe on a mission of artistic education. In Paris, he apprenticed at the office of Auguste Perret, a structural rationalist and pioneer of reinforced concrete, followed in 1910 by a short stint at Peter Behrens' practice in Berlin. These formative experiences initiated a life-long exploration of concrete in Le Corbusier’s work.
Winner of the RIBA Silver Medal: Nick Elias of the Bartlett School of Architecture. Image Courtesy of RIBA
The Royal Institute of British Architects (RIBA) have announced the President’s Medals Student Awards at a special event today in London. The awards, recognised as the world’s most prestigious set of awards in architectural education, were inaugurated in 1836 (making them the institutes oldest award, including the RIBA Gold Medal). Three medals in particular – the Bronze for a Part I student, the Silver for a Part II student, and the Dissertation Medal – are awarded to “promote excellence in the study of architecture [and] to reward talent and to encourage architectural debate worldwide.” In addition to these, the winners of the Serjeant Award for Excellence in Drawing and the SOM Foundation Fellowships are also announced.
To celebrate the first anniversary of our US Materials Catalog, this week ArchDaily is presenting a three-part series on "Material Masters," showing how certain materials have helped to inspire some of the world's greatest architects.
Mies van der Rohe, famous for his saying “less is more,” was one of the preeminent modernist architects, well known for pioneering the extensive use of glass in buildings. His works introduced a new level of simplicity and transparency, and his buildings were often referred to as "skin-and-bones" architecture for their emphasis on steel structure and glass enclosure. In addition to Mies van der Rohe, glass was a major influence for many architects of the modernist movement and reshaped the way we think about and define space. Today, glass has become one of the most used building materials, but its early architectural expression is perhaps best exemplified in the works of Mies.
On one of Qatar's many World Cup construction sites, another Nepalese worker dies. The worker is not named; their death does not make the news, and work resumes on the site as soon as possible in order to make the 2022 construction deadline. But, in the desert outside Doha, a crane driver solemnly prepares to add one more concrete module to what has rapidly, and tragically, become one of Qatar's tallest towers.
This is the vision presented by Axel de Stampa and Sylvain Macaux, of the Paris and Santiago-based practice 1week1project, with their "Qatar World Cup Memorial." Designed as one of their week-long "spontaneous architecture" projects, the monument memorializes each deceased worker in the run-up to the 2022 World Cup.
To celebrate the first anniversary of our US Materials Catalog, this week ArchDaily is presenting a three-part series on "Material Masters," showing how certain materials have helped to inspire some of the world's greatest architects.
Shigeru Ban’s portfolio is a strange dichotomy, split between shelters for natural disaster refugees and museums commissioned by wealthy patrons of the arts. Even stranger is the fact that, in both cases, Ban’s material palette frequently incorporates recycled cardboard, paper, and old beer crates. The Pritzker prize laureate is unique in this regard, and so great is his predilection for recycled paper tubes (originally formwork for concrete columns), that he has become known as the “Paper Architect.” His work receives media attention worldwide for the unorthodoxy of its construction materials. Yet Shigeru Ban is not concerned with unorthodoxy, but with economy. It is for this reason that, when paper tubes are deemed unsuitable, Shigeru Ban constructs his buildings in wood. Inspired by the architectural tradition of his native Japan, Ban is not only the "Paper Architect," but also one of the most famous architects working in wood today.
GH-6750399503. Image Courtesy of Malcolm Reading Consultants
The following analysis of the Helsinki Guggenheim competition entries was contributed by Federico Reyneri, partner at LPzR associates architects, and his research team.
Architects have always pushed the limit, often experimenting with forms and technologies unavailable in their time. In the last 20 years, we experienced a small revolution in thinking about spaces and embracing complexity, as computers started to show their real power. Since Gehry’s Guggenheim came to life in the mid nineties, nothing has been the same: free forms emerge everywhere from the dreamland to reality (often becoming someone else’s nightmare). Before this computer technology, except for the realm of the mind and clay modeling, real control over complexity through technical drawings was too hard a game for us ordinary mortals but eventually, in the last 10 years or so more powerful and cheaper computers and even cheaper software, capable of astonishing parametric-generated design elements, came out. Since then, new generations of designers have started to set free mind-blowing ideas, showing the world amazing computer generated pictures. Some architects even started to build them.
But how widespread is parametric design technology? How does it influence architecture worldwide? We started to analyse the Guggenheim Helsinki Design Competition, the largest architectural design competition in world history.
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