Cultural Architecture: The Latest Architecture and News

Throughout their relatively recent history, museums have evolved to condense particular aspects of a culture and present them in a coherent and unified manner. This makes the connection between the architecture and the exhibit a crucial matter, as the architect is tasked with designing not only the framework and background of the exhibited arts or artifacts but also taking charge of the journey undertaken by the visitor, harmonizing the cultural gain with the lived spatial experience of walking the exhibition halls. However, not all museums have been purposely built for this task.

Across Europe, museums are being organized within or expanding upon historical monuments and buildings that have lost their original purpose. Then in a state of decay, this decision to reorganize them as cultural venues stops the decay and preserves the historical material, adding a new layer of complexity to the intended exhibits. The architect's role becomes that of introducing order and a system that can balance the heritage of the place with the needs of modern functionality, ensuring that the essence of the original structure is preserved while meeting the needs of contemporary exhibitions and public engagement.

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The relationship between art and humanity dates back to the origins of civilization. Museums have become spaces where vast collections of art and artifacts narrate the history of time, humankind, cities, and countless stories about cultures and societies. Over the years, the museum's role has evolved, taking on different forms and scales, including the modern-day art gallery. The importance of art and culture in contemporary cities and neighborhoods is undeniable. However, galleries serve multiple roles in integrating art and culture into daily life. Why are these spaces valuable to communities? How do they support emerging artists? How can galleries revitalize neighborhoods?

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Standing out among the array of cultural programs, the opera and theater typology is often understood as encompassing the luxurious and elitist spirit of a bourgeois society focused on entertainment. Across the Soviet Union, this represented the opposite of the principles to be promoted. However, despite the opposition of the political class, the program remained widely popular. As the historical structures, symbols of the previous regime could no longer be promoted, the search began for a new image of the Opera House, one aligned with Socialist ideals and the concept of "art belonging to the masses."

This is the case of Soviet Lithuania, which, in the 1940s, began the process of developing a new Opera and Ballet Theater in Vilnius to replace the theatre in Pohulianka. The process resulted in an unusual commission, as young architect Elena Nijolė Bučiūtė won the 1960s competition for architectural design, turning the initial socialist realist proposals into a welcoming and expressive design, blending elements of early and late modernism. This also represents a surprising accomplishment for a young architect who was a woman and not a member of the Communist Party. The project is featured in the program of Open House Vilnius, focused on the theme "People who create the city."

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From 1977 to 1983, the National Theatre in Prague underwent a major transformation with the opening of Nová Scéna, a modern counterpart to the traditional Neo-Renaissance theatre. For many years, Nová Scéna hosted the renowned Laterna Magika, the world’s first multimedia theatre. This groundbreaking performance style combined classical theatre with computer-generated visual effects, creating a unique dramatic experience. The striking glass building, a symbol of the communist era, became an iconic representation of the political power of the time.

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Concert halls, music, and performance venues stand as iconic symbols of cultural vitality within urban landscapes. Through these structures, which often become landmarks of the city, the residents are invited to take part and experience artistic expression, fostering a sense of community and connection. For architects, this program poses the intricate challenge of balancing form and function, creating spaces that enhance the acoustic experience, allow for the flow of audience and performers, and create visual spectacles in their own right.

Featuring both emerging and internationally recognized offices, this week’s curated selection showcases music and performance venues, from mixed arts and cultural centers to opera and ballet halls. Including proposals for international competitions such as David Chipperfield Architects or SHL and PAX architects’ designs for the Polish Royal Opera in Warsaw or Hariri Pontarini Architects’ design for an integrated center for the arts in Canada, the selection explores the program of music venues across scales and programs.

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Many major cities in the United States are grappling with large industrial buildings that have fallen into disuse. These buildings hold historical and architectural significance and are often protected from demolition. Consequently, architects face the challenge and responsibility of adapting these buildings to contemporary functionalities. Opting against demolition reflects a sustainable construction approach and highlights the importance of honoring the built heritage.

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Throughout various historical civilizations and art movements, from Classical Greece and Rome to the Renaissance and the Bauhaus, the collaboration between art and architecture has been a significant societal expression. However, the 20th-century ideals of modernism and mass production resulted in the decline and near disappearance of art within buildings.

In response, many European countries have taken on the responsibility of promoting the collaboration between art and architecture. Schemes were created mandating that a percentage of the total cost of a new public building, place, or space must be spent on art. This legislation, commonly known as 'Percentage for Art', originated in France and has been explored by artists and architects over the years to create new architectural experiences.

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Several events have shaped Morocco since its independence. One of them is the Architects’ transition from serving the declining French empire to serving the newly independent Moroccan nation. Upon gaining independence in 1956, young Moroccan and foreign architects were tasked with constructing a self-sufficient Morocco. The demand for modern infrastructure, new administrative buildings, and improved education and health facilities led to a construction boom. This boom provided architects and planners the opportunity to express their vision.

Inspired by the popularity of modernism in Europe, architects experimented with buildings that embodied brutalism. This architectural style was not only a rebellion against the colonial vision of urban design in Morocco, but also a symbol of architectural unity in the urban landscape. Buildings were created in various typologies with the characteristic of exposed concrete, showcasing its inherent qualities of strength, durability, and functionality. These buildings, which can be seen in cities such as Agadir, Casablanca, Tangier, and parts of Marrakesh, represent a dialogue between brutalism and Moroccan culture, environment, and climate.

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Architecture is the design of spaces for human occupation. Despite architects’ skill in designing spaces to influence human behavior there often is a shortfall in anticipating and reacting to occupants’ behavior. To create environments that boost well-being, productivity, and social engagement, a symbiotic relationship between buildings and human behavior must be fostered. The intersection of architectural and anthropological studies forms an insightful framework for the design of physical spaces informed by human behavior and cultural context.