Editorial: The Latest Architecture and News

Rio de Janeiro-based writer Robert Landon has shared with us his experience exploring Zaha Hadid’s newly completed Eli and Edythe Broad Museum in Michigan.

As you approach Zaha Hadid’s new Eli and Edythe Broad Museum in East Lansing, Michigan, it is the complex, light-catching carapace that first reels in the eye — a fine shock after the brick, neo-Gothic buildings that define the rest of the Michigan State University campus. Draw closer and its undulating fins, opening and closing in rhythmic asymmetries, begin to seduce the mind. In some places scrunched up into sharp angles and in others allowed to breathe for longer stretches across the low-slung facade, the fins seem to be the expression of some higher, grid-bending equation.

In a half-conscious attempt to solve the math, you begin to circle the building. At certain points, the fins spread wide enough for generous glimpses inside, but as you move keep moving, the inner secrets vanish again behind the metal lattice. In the same way, the relentlessly kinetic carapace tantalizes with, but ultimately eludes, any logical or definitive summing up. What is certain, though, is that, by the time you’ve come full circle, you’ll have grown quite curious to see what is going on inside.

More after the break…

For over a century, the Venice Biennale (La Biennale di Venezia) has been one of the most prestigious cultural institutions in the world. The avant-garde institution has remained at the forefront in the research and promotion of new artistic trends, while leading international events in the field of contemporary arts that are amongst the most important of their kind. Over the past thirty years, the Biennale has given growing importance to the Architecture Exhibition, which is still a young component of the Biennale considering that its first exhibition was held in 1975. Today, the Venice Biennale captures a multitude of interest from around the globe and attracts over 370,000 international visitors.

Before the festivities of the 13th Venice Architecture Biennale begin tomorrow, read up on the origin of this highly acclaimed international exhibition.

A timeline history of the Venice Architecture Biennale:

In an article published by The Wall Street Journal called For Creative Cities, the Sky Has Its Limit, Richard Florida discusses the development of urban environments and their relative successes. As human migrations are trending towards big cities, the design and appropriation of space within these cities is increasingly important. Florida cites that trends indicate that by 2050 cities will make up 70% of the global population. With so many people, elevate density within cities will be unavoidable, but what Florida emphasizes is that it isn’t just density that makes a vibrant and thriving city. Citing Shanghai and New York City as examples of dense urban environments, Florida explains the differences in their relative architectural and urban developments and the prosperity that follows. The fundamental difference? The prevalence of mixed-use neighborhoods in New York City that overpower the innovation of strictly financial districts of either New York or Shanghai.

Let’s look at these examples after the break.

There is no other comic saga more influenced by architecture than Batman. Gotham, and the fictional architects that built the city, have been main characters since the first plots. Writer and architect Jimmy Stamp describes in these essay the fascinating architectural references and metaphors that have filled Batman stories for the last 60 years.

Batman, Gotham City, and an Overzealous Architecture Historian With a Working Knowledge of Explosives

By Jimmy Stamp

New York, Dubai, Tokyo, Moscow, Gotham. Every city in every atlas—real and fictional— has a unique character shaped by history and geography. More than a mere sense of place derived from architecture and planning, cities have a feeling that pervades the consciousness of those who live there until themselves become a a piece of the urban fabric, a fractional embodiment of the city itself. Perhaps more than any other person—real or fictional—Batman is integrally linked to his city, the city he has sworn to protect. In every sense of the word, he is a true avatar of Gotham. And Gotham City itself is an avatar, not only of the dreams of its fictional architects, but of our collective urban paranoia.

Read the full post after the break

Welcome back and congratulations for having made it to the final installation of the Olympic City Guide.

So far, in parts I and II, we’ve learned how to design for your post-Games legacy (No White Elephants please) and to revitalize -not demolish- your city’s most deprived “eye-sores” (Don’t Hate, Rejuvenate).

So what’s left? Well, in this post-Recession era of austerity, a huge part of your Olympic Strategy will be justifying the spending – the colossal spending – to your more than skeptical constituents. As I said in the last post, a good starting point is targeting urban renewal and being as transparent as possible, but another big element is how you market the Games – not just to the International Olympics Committee (IOC), but to your own city-dwellers.

So how can you get them both on your side? Simple - Go Green.

Today, 3D Printing technology lives in the realm of small plastic tchotchkes. But economists, theorists, and consumers alike predict that 3D printers will democratize the act of creation and, in so doing, revolutionize our world. Which poses an interesting quandary: what will happen when we can print houses?

Last week, I discussed the incredible capabilities of 3D Printing in the not-so distant future: to quickly create homes for victims of disaster/poverty; to allow the architect the freedom to create curvy, organic structures once only dreamed of. But, if we look a little further afield, the possibilities are even more staggering.

In the next few paragraphs, I’ll introduce you to Neri Oxman, an architect and MIT professor using 3D Printing technology to create almost-living structures that may just be the future of sustainable design. Oxman’s work shows how 3D Printing will turn our concept of what architecture – and the architect – is, completely on its head.

Through research, discussions and essays from a variety of resources, Parlour: Women, Equity, Architecture is a platform, a coach, and an inspiration that is available to women worldwide in an effort to bridge the gender gap that exist in the historically male dominant profession of architecture. Launched by a team of scholars led by Dr. Naomi Stead from The University of Queensland and developed and edited by Justine Clark from The University of Melbourne, this website is relevant to all members of the profession, women and men, in all parts of the world. It highlights the reasons why gender gaps are felt as in “implicit bias” whether in pay scale or upward mobility, even though discrimination and prejudices may not be explicit. In this regard, the website and its collection of resources, aims to create a forum for a dialogue about the actual and perceived barriers that empowers women to challenge the social structure that fosters this proven under-representation, whether it is due to professional practices and “gendered behavioral practices” or pressures that women feel to leave the profession at a much higher rate than men.

More after the break.

When the kids at NOTLabs first got their hands on a MakerBot Replicator, the ingenious 3D printer that can make just about anything you want, they quickly got down to business – making LEGO and Kinex connectors, that is. As inconsequential as their decision may seem, it got us thinking: today, building blocks, but tomorrow? Buildings themselves.

The future isn’t as far as you may think. In the next two articles, I’ll introduce you to three visionaries who are already applying 3D printing technology to revolutionary effect: an engineer hoping to improve the human condition, a robotics expert with the goal of completing the Sagrada Familia (or at least putting a structure on the moon), and an architect at MIT using nature-inspired materials to turn the design world on its head.

If these three examples are anything to go by, 3D Printing will revolutionize the world as we know it. But it begs the question: at what price? Will it offer architects the freedom to design without the pesky limitations of built reality? Or, like the scribes made redundant by Gutenberg’s printing press, will 3D printing make the architect go extinct?

The bank architect’s goal is to create a secure edifice. The bank robber’s? To subvert the edifice. And yet consider their commonality: their interaction with space. Both analyze plans and consider inefficiencies, both inhabit the space much differently than your average spectator. In fact, the Robber’s relationship with space is far more physical, urgent…nuanced. As Mehruss Ahi, a recent graduate from Woodbury University, puts it in his senior thesis: “The Architect is the Bank Robber…and the Bank Robber is the Architect.”

Ahi suggests a Robber-like “spatial hack” of the bank: an identification of its inefficiencies/vulnerabilities/paths of circulation. He also notes the necessity of giving priority to large storage space for goods rather than money (due to “the migration of banking services to the Web”). This new perspective, Ahi argues, will allow architects to design a smarter, more secure bank. The bank of the future.

Ahi’s assertion about the need for physical storage space (as banks turn to the Web), got me thinking. Our world depends less and less on physical storage, and more and more on the bits of information flying through the wires and cables of the internet. Ahi’s theory, while an interesting insight into bank design, is even more powerful when applied to the bank’s modern day equivalent: the Data Center.

Seeing as it’s the 4th of July, we thought we would take a moment to reflect on the state of Architecture in our country today. Where are we? What’s important to us now, July 4th, 2012? And what does the future look like?

Every June 21st since 2003, Go Skateboarding Day has rallied skateboarders around the globe – in skateparks and public plazas, downtown nooks and parking lots – to grind, ollie, and kickflip it with the best of them.

If I didn’t lose you at “ollie,” you’re probably wondering: what the heck does this have to do with architecture?

Well, I could talk about the architectural challenge that a skate park, as an interactive public space with specific topological requisites and social implications, offers architects. I could show you some cool testaments to the fact, such as the Architecture for Humanity-sponsored projects in Afghanistan and Manhattan, opening today.

But, rather selfishly, I’m more interested in what skateboarding has to offer us beyond skateparks. A skater, unlike your typical pedestrian, experiences space just as intensely and consciously as an architect himself, albeit in a different way. He/she is alive to the possibility of space, not in its totality, as an architect would be, but as a collection of tactile surfaces to be jumped on, grinded, and conquered.

The skater offers a revolutionary perspective for the architect: one that allows you to see buildings beyond what they were intended to be, to see (and design) buildings as “building blocks for the open minded.”

‘What is proposed is like a monstrous carbuncle on the face of a much loved and elegant friend.”

It’s easy to see why British Architects get their hackles raised when it comes to Prince Charles. The oft-quoted gem above, said in reference to a proposed extension to the National Gallery in 1984, is one of hundreds of such Architectural criticisms Prince Charles has made over the years. Which wouldn’t matter of course, if, like any average Architectural layman’s opinions, his words didn’t have much weight.

His do. They’ve resulted in the intervention, squelching, and/or redesign of at least 5 major plans over the last twenty years. But let’s not write off Charles just yet.

With the Queen’s Jubilee ceremoniously having finished yesterday, the conversation analyzing her legacy has begun. And while London’s towering, cutting-edge high rises (a la Norman Foster, Richard Rogers, and Zaha Hadid), will be the shining examples of Elizabeth’s reign – I’d like to suggest something, and raise a few hackles, myself…

Curious for more? Keep reading about Prince Charles’ unlikely influence on Architecture, after the break…

Earlier this month, The New York Times’ Michael Kimmelman tackled a common narrative in the architecture and urban planning community. It goes like this: once upon a time, in the 1990s, Medellín, Colombia, was the “murder of the capital of the world.” Then thoughtful architectural planning connected the slums to the city. Crime rates plummeted and, against the odds, the city was transformed.

Well, yes and no.

What happened in Medellín is often called “Urban Acupuncture,” a way of planning that pinpoints vulnerable sectors of a city and re-energizes them through design intervention. But Kimmelman reports that while the city has made considerable strides in its commitment to long-term, urban renewal, it has prioritized huge, infrastructural change over smaller solutions that could truly address community needs.

Urban Acupuncture needn’t be expensive, wieldy, or time-consuming. But it does require a detailed understanding of the city – its points of vulnerability, ‘deserts’ of services, potential connection points – and a keen sensitivity to the community it serves.

So what does this have to do with food? Our food system presents seemingly unsurmountable difficulties. In Part II, I suggested that design could, at the very least, better our alienated relationship with food. But what if we used the principles of Urban Acupuncture to bring Agriculture to the fore of urban planning? What if we used pinpointed, productive landscapes to revitalize abandoned communities and help them access healthy foods? What if we design our cities as points of Urban “Agripuncture”?

What would our cities look like with Urban Agripuncture? Read more after the break…

Missed Part I and Part II? You can find the whole series here.

São Paulo-based architect Anthony Ling has shared with us his perspective on Andrew Maynard’s recent article “Work/life/work balance”. Maynard’s article was extremely popular as it discussed some of the industries most controversial issues surrounding exploitative and exclusionary working practices. Although Ling agrees with many of Maynard’s points, he disagrees with the logic of Maynard’s two options for attaining a good work/life balance – (1) taking the risk of going broke and start your own practice or (2) leave the profession. Greatly inspired by Joshua Prince-Ramus, Ling proposes a solution that focuses on the creation of more business-minded, medium-sized practices.

By reading Andrew Maynard’s critique on today’s architectural workplace I could share his feelings and his rage towards the top-down management system run by many corporate architecture firms and the poor environment most architects work in. I couldn’t agree more that architecture is not as romantic as one sees it, and people who decide to embrace the field should know that. He is also right on by saying that a small percentage of time is spent on creative work and that architecture isn’t the highest paying profession, but I think most people who decide to enter the business already know about this last one. Although his ideas are inspiring and even agreeing with part of his solution to the problem, I think his logic is wrong.

Everyday, in the city of London, 30 million meals are served. That’s millions of trucks arriving to millions of stores and restaurants in a complex, tightly scheduled orchestration of production, transportation, and distribution.

We take it for granted that this system will never fail. But what would happen if these trucks were stopped? As unrealistic as it sounds, it’s happened – and not so long ago.

In 1989, over 57% of Cuba’s caloric intake was imported from the Soviet Union. When it collapsed, Cuba became, virtually overnight, solely responsible for feeding its population – including the 2.2 million in the city of Havana. [1] What happened next is an incredible story of resilience and innovation.

As our world becomes increasingly urbanized, our farms increasingly endangered, and our reliance upon fossil fuels increasingly undesirable, the question of how we will feed billions of future city dwellers is no mere thought experiment – it’s an urgent reality.

The story of Cuba offers us an interesting question: What would our cities look like if we began to place food production/distribution as the primary focus of urban design? And what will it take to make this vision a reality?

More on how Food can shape our cities, after the break…

Australian architect Andrew Maynard, co-director of Andrew Maynard Architects, has shared with us his article “Work/life/work balance”, published first on Parlour. “Many women leave the profession due to the difficult combination of poor work cultures, long hours and low pay. But these conditions affect everyone – women and men – as well as the viability of the profession as a whole. Andrew Maynard sets out the issues and challenges the profession to end exploitative and exclusionary working practices.”

It is time for architectural work practices to grow up. We must stop deluding ourselves that architectural employees are anything other than a contemporary exploited labor force.

Epicurus argued that humans needed only three things in life to be happy – friends, freedom and an analyzed life. All evidence indicates that Epicurus had a rather good time while he was around. Now he is dead. I wonder if Epicurus became a senior associate at Philosopher & Associates Pty Ltd before he died? Surely this was a priority. Does contemporary architectural employment deny us our happiness; our friends, freedom and the opportunity for an analyzed life? Many would argue that being employed in architecture and the pursuit of happiness are irreconcilable. It can reasonably be argued that most architects, and almost all recent graduates, are working in conditions that are unhealthy, unsustainable and exploitative.

Continue reading after the break.

“Pop-Up,” “DIY,” “Kickstarter” “LQC” (That’s lighter, quicker, cheaper for the unfamiliar). Urbanisms of the People have been getting awfully catch-phrasey these days. What all these types of DIY Urbanisms share is a can-do spirit, a “Hacker” mentality: people are taking back their cities, without any “expert” help.

Unfortunately, of course, this mindset creates an anti-establishment (often, anti-architect) antagonism that would render any wide-spread change nigh impossible. Yes, the DIY movement, facilitated by the use of technology, is excellent for getting people involved, for encouraging important, innovative ideas – in the short-term.

As Alexandra Lange recently pointed out in her post “Against Kickstarter Urbanism,” technology is not a “magic wand,” and crowdsourcing initiatives often fall short in the day-to-day, nitty-gritty work of a large-scale, long-term urban project.

But while technology certainly has its limitations, its potential to facilitate connection and communication is unparalleled. What is vital, however, is that the technology enhance, not replace, our physical relationships. Instead of using online platforms as divisive or purely conceptual forums, they must becomes tools of transparency and trust-building, mediators of a conversation that invests and connects all parties on the ground.