The Guardian: The Latest Architecture and News

The EU costs you the same as Netflix - is it worth it? Rem Koolhaas thinks so.

Over at The Guardian, mathematician Alex Bellos has an article series in which he asks readers to send their solutions to a weekly puzzle. That sounds innocent enough, but this week's installment might have caused architects to double-take: inspired by a reader who remembers it from his days as an architecture student, solving Monday's puzzle suggests that a reader is "smarter than an architect."

The puzzle itself looks somewhat like a child's block puzzle. Three holes—a square, circle, and triangle—are presented. But unlike a child's puzzle, in which you'd normally have square, circular and triangular blocks that fit the holes, the challenge here is to visualize a single block which would fit perfectly through all three holes.

In October 1997, the unforgettable swooping metal panels of Frank Gehry’s Guggenheim Bilbao made their debut, drawing the attention of art and architecture lovers around the world. Images of the building quickly circulated through the infant world wide web, turning the museum into an instant icon that permanently elevated and transformed the international perception of the city of Bilbao.

Cities all over the world saw the potential in creating their own “Bilbao Effect,” and soon, a slew of new eye-catching, sculptural buildings had be built. This phenomenon persisted through the 2000s, manifesting itself in works by Gehry, Zaha Hadid, and many others. But recently, notable figures both inside and outside architecture have began to distance themselves from the icon, notably in the design philosophies of OMA and alumni such as Jeanne Gang and Matthias Sauerbruch.

In a new opinion piece for the Guardian, photographer Stuart Franklin extends this sentiment not just to architecture, but to all images in general. Franklin explains the history of the “iconic image” and the reasons why it may no longer exist. 

Read Franklin’s full piece, here.

Alongside designer Paul Tinker and developer Esteban Almiron, UK-based illustrator Sam Chivers has created a series of animations visualizing the sustainable development of airports for a recent Guardian piece. The animations, which describe the topics of transport, alternative energy, noise reduction, airport terminal design, biodiversity, and fuel efficiency, capture the passage of time from morning to evening in Heathrow Airport in London.

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The challenges of designing social housing are complex. As Martha Thorne recently told the Guardian, "It’s not enough to make community space and say, ‘People are going to see each other’... Architects really have to understand the context from the client – the cultural context, to the bigger context, to the economics, to the future of the residents who’ll live there.” Speaking about Winnipeg's well intentioned Centre Village project designed by 5468796 Architecture, Thorne believes many of these challenges are new to architects.

Just five years old, Center Village was designed as a community-oriented micro village for 25 families in one of Canada's poorest urban areas. Since its establishment, the complex has become a hot bed for crime; courtyards are being used by vagrants as shelter from police, while large families try to make a life within the cramp quarters of each home.

"London is on the verge of being ruined for all future generations," says Alain de Botton – a Swiss philosopher, notable author and founder of The School of Life and Living Architecture. "With a whopping 260 towers in the pipeline no area is safe, as planners, property developers and the mayor's office commit crimes against beauty to create fun buildings." In a film for The Guardian De Botton explains why he believes we're right to be nervous – and how we can stop this "clear desecration" of the UK's capital city.

The UK is in the midst of a housing crisis, the intricacies of which were detailed by Rowan Moore earlier this year. For decades the typical British housing stock has been of relatively poor quality, proliferated by developer-led consortiums and characterised by ruthless cost-efficiency for maximum profit. From this formula comes nothing but a monotony of off-the-shelf constructions which have, over time, become a national benchmark. These houses – often built of brick, boxy in form, and using as little space in the facade for openings – are commonly dark, spatially inadequate, and far below the standards that should be being aimed for. It’s like living in a well-appointed cave.

In an article for The Guardian, Turner Prize winning ceramic artist Grayson Perry has written for the first time about his "plans for a Taj Mahal in Essex." The designs for the House for Essex, which have been realised over the last three years by FAT and led by Charles Holland, are of a "secular chapel" in the heart of the southern English countryside. The building was commissioned by the Living Architecture Project, which is headed by Alain de Botton and are the proprietors of property designed by the likes of Peter Zumthor, MVRDV, and David Kohn. This, their fifth foray into experimental collaborative architecture between architects and artists, is set to open its doors for holiday letting this year.

The Victoria and Albert Museum (V&A), named after the Queen and Her Consort, has its foundations in the Great Exhibition of 1851 amidst the wealth, innovation and squalor of the Industrial Revolution. Britain was flooded by prosperity which allowed for the development of major new institutions to collect and exhibit objects of cultural significance or artistic value. The institute’s first director, Henry Cole, declared that it should be “a schoolroom for everyone,” and a democratic approach to its relationship with public life has remained the cornerstone of the V&A. Not only has it always been free of charge but it was also the first to open late hours (made possible by gas lighting), allowing a more comprehensive demographic of visitor.

Their latest exhibition, which opens today, seeks to realign the museum’s vast collection and palatial exhibition spaces in South Kensington with these founding concepts. The interventions of All of This Belongs to You attempt to push the V&A’s position as an extension of London’s civic and cultural built environment to the fore, testing the museum’s ability to act as a 21st century public institution. To do this in London, a city where the notion of public and private is increasingly blurred, has resulted in a sequence of compelling installations which are tied together through their relevance either in subject matter, technique, or topicality.

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