In honor of World Photo Day (August 19th) ArchDaily wanted to thank the photographers who bring to life the projects that we publish every day. So we asked 15 architects to weigh in on the work of some of our most-appreciated architecture photographers. Here, Thom Mayne writes on behalf of Roland Halbe.
The fourteenth of July is Bastille Day, a day that commemorates the start of the French Revolution. Named for the fortress prison that was stormed by revolutionaries on July 14th, 1789, Bastille Day is celebrated globally both by France and her former colonies, as well as many cities in the US. In honor of this historic date, we’ve compiled some of our favorite French projects from the past few years. In this round up you’ll find classics such as the Villa dall’Ava by OMA, as well as fantastic works like Nova Green by Agence Bernard Bühler, Pontivy Media Library and Louviers Music school by Opus 5 architectes, Platform Architecture’s Aquitanis Headquarters, L’Atoll Angers by Antonio Virga Architecte and AAVP Architecture, a Parking Attendant’s Pavilion by Jean-Luc Fugier, Kengo Kuma’s Aix en Provence Conservatory of Music, and Origami by Manuelle Gautrand Architecture. Joyeux quatorze juillet!
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The 2014 Wienerberger Brick Award Winners exemplify brick's potential in contemporary architecture, transforming the common brick into something spectacular. This year's jury featured 2012 Pritzer winner Wang Shu, who commented on the "spatial and secret" feeling of the Grand Prize Winning Kantana Film and Animation Institute. See all seven winners after the break.
Paris-based architect Brendan MacFarlane, of the firm Jakob + MacFarlane, spoke to us during our visit to the FRAC Centre in Orléans for the ArchiLab 2013 exhibition and conference. MacFarlane, who studied at Sci-Arc in the 80s and later received a degree from Harvard's GSD, successfully combines theory and form, placing him among the few architects that have been able to harmonize this balance.
The use of light can lead to very diverse feelings: a ray of sunlight calls attention; glare overpowers; the nocturnal sky fascinates, while a dense dark forest arouses fear. Religions have made use of these experiences to convey the mystic aspects of their respective deities — accordingly, so too do their erected buildings.
After the break, an exploration of the different approaches for using light as a vehicle of symbolic meaning and spiritual experience in religious spaces.
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