What is the role of sound and acoustics in the work of leading architecture practices? In February this year, reSITE and MAAT in collaboration with Meyer Sound hosted RESONATE: Thinking Sound and Space, a conference focused exclusively on the intersection of architecture and sound.

Elizabeth Diller of Diller Scofidio + Renfro, Snøhetta's Kjetil Trædal Thorsen, Michael Jones from Foster + Partners, the founders of Meyer Sound, and the pioneer of sound art Bernhard Leitner spoke with reSITE and Canal 180 at MAAT Museum in Lisbon, Portugal. Below are the 4 episodes in the series, where they discuss the role of sound in designing cultural venues and concert halls and the changing role of the architect in an age of specialization:

Today marks what would have been the 100th birthday of the leading Danish architect, Jørn Utzon. Notably responsible for what could be argued to be the most prominent building in the world, the Sydney Opera House, Utzon accomplished what many architects can only dream of: a global icon. To celebrate this special occasion, Louisiana Channel has collaborated with the Utzon Center in Aalborg, Denmark to put together a video series to hear prominent architects and designers talk, including Bjarke Ingels and Renzo Piano, about their experiences with Utzon and his work—from his unrivalled visual awareness of the world, to his uncompromising attitude that led him to create such strong architectural statements.

Unlike many architects around at the time of Jørn Utzon, who as modernists rejected tradition in favour of new technologies and orthogonal plans, Utzon combined these usually contradictory qualities in an exceptional manner. As the architects recount, he was a globalist with a Nordic base, that has inspired the next generation to travel the world and challenge their concepts. Many of them compare his work to Alvar Aalto’s, as both shared an organic approach to architecture, looking at growth patterns in nature for inspiration. Utzon even coined this approach "Additive Architecture," whereby both natural and cultural forms are united to form buildings that are designed more freely.

Art, in general, is made to be seen or experienced by another, an interlocutor, who, in turn, establishes various relationships with the art work. However, this is not the case of the Bataan Chapel, built by the Swiss artist Not Vital in the Philippines.

Ravaged by constant winds, the art work rises on a hill in rural Bagac, a town of just under 30,000 inhabitants located about 50 kilometers west of Manilla. The remote location of the building makes access difficult and the journey becomes a sort of pilgrimage — part of its grace lies precisely in its inaccessibility.

At the meeting point of the Grand Canal and the Giudecca Canal in Venice is a triangular plot of land, the Punta Della Dogana. On the site sits a long, low-slung 17th-century structure punctuated at its tip by a squat tower topped with an ornamental green and gold weather vane representing fortune. This former customs house of Venice, the Dogana da Mar, was purchased in 2007 by François Pinault with the intention of converting the structure into an art museum, a task he entrusted to Tadao Ando.

While the Japanese architect may not have been the obvious choice to work with a historic Italian building, Ando's solution combined a total respect for the existing building with the sharp minimalism for which he is known. Stripping back centuries of additions, the building was largely restored to its original structure. At the heart of the building's deep plan, a pure concrete volume hints at the architect of the restoration, serving to organize the spaces around it. In 2013, the building was photographed by Luca Girardini on the occasion of the exhibition "Elogio del dubbio."

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In buildings where openness, brightness, and outward views are highly valued by the users of our projects, glass predominates as an exterior cladding in cities all around the world. This forces us to look for options that can manage the excess of solar radiation and maintain thermal comfort in all seasons, without obstructing the views or darkening the interior spaces.

Prefabricated metal meshes provide certain qualities and flexibility that can work well in conjunction with glass; here we present 8 tips to work with this material and take advantage of its potential.

There's an old, weary tune that people sing to caution against being an architect: the long years of academic training, the studio work that takes away from sleep, and the small job market in which too many people are vying for the same positions. When you finally get going, the work is trying as well. Many spend months or even years working on the computer and doing models before seeing any of the designs become concrete. If you're talking about the grind, architects know this well enough from their training, and this time of ceaseless endeavor in the workplace only adds to that despair.

Which is why more and more architects are branching out. Better hours, more interesting opportunities, and a chance to do more than just build models. Furthermore, the skills you learn as an architect, such as being sensitive to space, and being able to grasp the cultural and societal demands of a place, can be put to use in rather interesting ways. Here, 3 editors at ArchDaily talk about being an architect, why they stopped designing buildings, and what they do in their work now. 

Modernity certainly does not have to be characterized by ugliness, but we may well have to make some revisions in our standards of beauty.
— Edward J. Logue

pinkcomma gallery is proud to present Brutal Destruction, photographs of concrete architecture at the moment of its demise. The exhibit is curated by Chris Grimley of the architecture office over,under. The exhibit opens 12 April, 2018 from 6–9 p.m., and the will be on display through May 03, 2018.

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Videos

What do architectural drawings do? Convey visual information about the design of buildings. This much is certain. They do much else besides. They can be idiomatic and ideological, they can express the personality of those who make them and by whatever means—charcoal, pencil, pen, or computer program. They can inspire, provoke and radicalize. They might be realistic or the stuff of fantasy. Or, of course, they can instruct those charged with building a three-dimensional representation of what they see on paper or, in recent years, on computer screens. Intelligence visible, they can also be art.

So, judging an open competition of architectural drawings from around the world, like The Architectural Drawing Prize, can only ever be an exercise in open-ended judgment even when these have been sorted into three technical categories: Hand-drawn, Digital, and Hybrid. How do we begin to compare Chris Raven’s intriguing digital analysis of Publicly Accessible Spaces in St Paul’s Cathedral with Xinyuan Cao’s almost fond cross-section through the Renovation of Denggao Village, two commended entries in the Digital Drawings category?

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Blank Space, in collaboration with The National Building Museum, has announced winners of their fifth annual Fairy Tales competition, unveiled in front of a live audience at the Washington D.C. National Building Museum. The competition saw submissions from 65 countries, with 3 prize winners, a runner-up, and 9 honorable mentions chosen for their exploration of current events and the creative process through well-crafted short stories and artwork. The winners were chosen by a jury of 20 leading architects, including Daniel Libeskind, Bjarke Ingels, and Maria Aiolova.

This article was originally published by Common Edge as "Why Homes Are the Original Architecture."

Homes may be the most powerful projection of architectural value. Because shelter is essential for all of us, the home is architecture’s universal function. We’re all experts on what our own home must be, to us.

But architects often have a different view of home. Twenty years ago—during the recession before the last recession—I remember hearing an architect declare that he could earn a living designing houses until “real work came along.” Another architectural meme is the classic first job: designing a house for your parents.

Tiny houses have become popular in recent years as housing prices continue to soar. Whether as an off-the-grid retreat or a way to live more simply and economically, tiny homes offer a more flexible way to live. They are even being used by charity organizations such as the Tiny Homes Foundation in Australia as a way to tackle the issue of homelessness in cities and the need for social housing. As the popularity and need for tiny homes become ever more prevalent, knowing the necessary skills to design a tiny house for yourself or a client is a useful skill to have.

Below are 6 tips to keep in mind when designing and building a tiny house:

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Small spaces often need to accommodate essential functions. How can you incorporate a kitchen into your design in the best possible way when floor space is limited? We've carefully reviewed our published projects to select seven houses where architects have effectively addressed this challenge through intelligent and innovative configurations.

These kitchens manage to appear larger than they actually are by being connected to adjacent spaces such as living rooms or dining rooms. They occupy very small areas themselves, taking a different approach from the traditional kitchen, which usually occupies a separate and exclusive room.

In the 1920s, Dutch-born artist Piet Mondrian began painting his iconic black grids populated with shifting planes of primary colors. By moving beyond references to the world around him, his simplified language of lines and rectangles known as Neo Plasticism explored the dynamics of movement through color and form alone. Though his red, yellow and blue color-blocked canvases were important elements of the De Stijl movement in the early 1900s, almost a century later Mondrian’s abstractions still inspire architects across the globe.

But, what is it about these spatial explorations that have captivated artists and designers for so long?

With the unconventional, undulating forms of his buildings—and the fact that his path to architectural success included a stint working for Zaha Hadid—Ma Yansong is often miscategorized as an architect of the latter generation of Deconstructivists, interested only in futuristic forms that push the boundaries of technology for the sake of innovation as an end in itself. But in fact Ma’s designs, especially those in his home country of China, are deeply rooted in nature and tradition, as he explains in the latest interview from Vladimir Belogolovsky’s “City of Ideas” series.

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Warning: this article proposes a narrative according to the route taken from one side to the other of the wall, from the predictable to the most unpredictable. To better situate ourselves, the narrative will be told through my personal experience.

"Do you know the wall that divides the rich from the poor?," asked three Greek travelers who, after visiting the "pretty" side of Lima, suspected that something was hiding behind appearances. But, "how is it that from, even though you're from the other side of the world, you knew about the wall?" Well, news travels. And "why is this wall something that has to be seen in our city?" if it's not a cause for pride. I knew exactly what they were talking about. I spelled it out: the wall of shame. Certainly, I wasn't familiar with it in situ either, since I hadn't left my urban bubble, like many of those who live in these parts, so with the same curiosity, as a tourist of my own city, we made our way.

This article was originally published by Metropolis Magazine as "Carol Ross Barney is Chicago’s New Daniel Burnham."

As a lifelong Chicagoan, Carol Ross Barney has seen the Chicago River transition from an effluent-filled cargo highway to a vibrant recreational spot, one where her grandsons go fishing. “They can throw their line in and pull out two- to three-inch fish immediately,” she says. It has even become a habitat for otters. As for people, the river has become an alternative commuting path: Some kayak to work. In many ways, these historically polluted stretches of Chicago now form a corridor offering a rich range of experiences and visitors. This dramatic reversal is thanks in no small part to the Chicago Riverwalk, which might be Ross Barney’s career-defining project. “The attitude of the people toward the river is really changing, and I think that’s the biggest story,” she says.

The role of the architect—and even architecture itself—in society today is changing. A lack of interest in critical social issues from a profession that holds such high responsibility within a community is a problem that should no longer be avoided.

In an exhibit currently on show at the Center for Architecture and Design in Seattle titled "In the Public Interest," Garrett Nelli Assoc. AIA challenges the profession of architecture to establish a focus on more community-engaged design. With the help of the 2017 AIA Seattle Emerging Professionals Travel Scholarship, Nelli traveled to Los Angeles, rural Alabama, Haiti, Italy and New Orleans, all the while analyzing how the built environment has the ability to influence social change.

Read on for an edited interview with Nelli about his research and how you can begin to implement elements into your design practice to help promote social change in your own communities.

Danish firm COBE has released images of their proposed aquatic center in Copenhagen Harbor, a scheme entered for a design competition which was won by Kengo Kuma. The proposal, designed in collaboration with Bjarke Ingles Group (BIG), formed part of COBE’s competition-winning masterplan for Paper Island, which was chosen for development in 2016.

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