Photographer Iwan Baan has released new images of Diller Scofidio + Renfro’s recently completed medical building for Columbia University, which trades a typical educational facility’s “boring” horizontal layout for vertical organisation (+ slideshow). (more…)
On this day twenty-five years ago Tim Berners-Lee launched the “World Wide Web” protocol at CERN in Switzerland, ushering in the age of the Internet. Over the last two decades this global information network has rapidly evolved, increasingly influencing how architecture is conceived, produced, discussed and ultimately implemented in real space.
ArchDaily is an evolving project of the Internet – an experiment in archiving, disseminating discourse and sharing content related to architecture and urbanism on a scale that was not possible as little as two decades ago. Since our foundation in 2008, we have operated around a single mission: to bring knowledge, inspiration and tools to the people who are, and will be, designing the urban centers which will accommodate our planet’s (exponentially rising) population. Most importantly for us, we are continually connecting people from around the developed and developing world by building a platform which operates in four languages—Spanish, English, Portuguese and Mandarin Chinese—to ensure that these discussions are available to the widest possible global audience.
We are ardent supporters of architecture, cheerleaders for design thinking, and—most importantly—advocates for open access to information about the built environment. With so many talented people who are consistently producing new ways for us to inhabit and understand the world around us, the entire global architecture community should be aware of, and have access to, cutting-edge research and information. This is our central motivation for focusing our efforts on publishing online.
The entire ArchDaily staff is constantly recognizing the outstanding debt that we owe to the pioneers of architectural print: to the people who started journals where others weren’t easily available, to those who valued not only discourse, but deliberation and critical thinking in architecture.
In June of this year, we received a handwritten message from one of our readers:
I am writing to thank you for your work. I grew up in a small country town in Victoria, Australia. I lived 3 1/2 hours drive from a city. My closest library has 5 books in the “architecture & design” category. I had no access to the world and history of architecture. Your website opened that world up for me. I found my passion and education through ArchDaily. In January I moved to Melbourne to begin my first year of my Architecture Degree at Monash University. I have never been happier.
Thank you for all you do.
While this is only one example from the many messages that we are fortunate to receive, it summarizes what we consider as our purpose. We are humbled by the fact that we reach between 400,000 and 500,000 (in English) visitors on a daily basis, and we vow to continue to empower the many architects and contributors who have made this incredible feat possible.
When ArchDaily’s co-founder, David Basulto, penned our first post on the 9th March 2008 he wrote: “Here comes ArchDaily! Architecture, day by day.” Our work—over 62,000 articles later—has been made possible by the Internet, and we are phenomenally excited to continue to develop alongside it.
David Basulto, Patrick Lynch, Amanda Pimenta, Becky Quintal, Rory Stott, and James Taylor-Foster
ArchDaily Global Team
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This article was originally published by Metropolis Magazine as “A Brutal Dismantling.”
As soon as photographer Harlan Erskine discovered the plans to demolish Paul Rudolph‘s iconic Orange County Government Center in New York, he knew he needed to bear witness to its demise. Beyond admiring the building’s dynamic form, the photographer recognized its continued impact on architecture today, particularly noting its influence on Herzog and de Meuron’s “Jenga tower.”
Visiting on four separate occasions throughout 2015 and 2016, Erskine captured the dismantling of this iconic Brutalist work with stunning severity. See the building’s final seasons below.
It’s a single family home located on a corner lot that occupies the interior of a small pre-existing warehouse, which previously accommodated a weaving workshop. The warehouse in its severity and introversion is utilized as protection from a very proximate urbanity.
At that time, we were interested in how William Kentdrige, on some of his choreographies, adapts his body to configure it into something else, a theme also very recurring in his engravings. Related to this premise and to produce an estrangement effect in the warehouse associated with other function, the house is constructed through the introduction of a foreign body that occupies it, shapes the interior and grows vertically until becoming visible over the rooftop as a strange object. The result from this, is a strong contrast between a severe exterior ruled by the re signified warehouse and a flowing interior which section is resolved as an autonomous and introverted world.
The ground floor destined to accommodate the common spaces –living room, dining room, kitchen- is left completely free and opens to an interior patio located at the back. This floor is characterized solely by a lonely inverted V shaped pillar and the landing of the staircase to the ground. The mid-level, which QUARTERS Lola’s bedroom and a studio, is organized as two arms supported on the previously mentioned pillar looking over the ground floor in a marked sequence of double height spaces. The upper level, which contains the parent’s bedroom, rests over the walls of the existent warehouse and opens to a rooftop terrace which serves as a garden. The three levels are linked by a continuous staircase made of wood that in its monumentality contrasts with the small scale of the house.
From the outside the rough plastered walls of the warehouse contrast with the black volume that protrudes over the roof.
You can now easily build integrated seating into your landscape project, thanks to a prefabricated grass armchair system called TERRA! The laser cut framework elements are quickly assembled, and all that’s left to do is cover the mound with soil and wait for the grass to envelope it. First released over 15 years ago and taken off the market shortly after, TERRA! is now back with a revitalized and simplified design.
TERRA! was developed by Andrea Sanna and Piergiorgio Robino of Studio Nucleo in 2000, at which time they won multiple industrial design awards and were exhibited internationally. The pair used to produce the product themselves but relied on bigger businesses for distribution. The TERRA! sold out all over the world, but in 2005 their method of production became unsustainable and the TERRA! was put on an indefinite hiatus.
Since 2005, the relationship between the producer and consumer has changed. Advancements in self-manufacture and distribution have played a major part in Studio Nucleo’s renewed production of TERRA! as it has removed the reliance on bigger companies.
The revived TERRA! system utilizes laser cutting for all components, ensuring precision and consistency. With a smaller frame and simpler assembly, it allows it to be transported with ease.
Part of Studio Nucleo’s ethos regarding the TERRA! system is that it works in opposition to the traditional produce, consume and dispose cycle – it allows the user to understand the process of making, and over time the TERRA! grows upon itself rather than disappearing. The TERRA! is something that needs to be cultivated, and the benefit is long-lasting.
Studio Nucleo state via their Kickstarter page, “There is no greater form of intimacy with an object than to be its creator. TERRA! is not a finished product, is an idea; we provide the cardboard frame, the main ingredient, the dirt can be found everywhere on our planet. The armchair will be born in your garden and becomes part of your landscape.
To support the project, head over to their Kickstarter page.
News via Studio Nucleo.
Designed jointly by Daniel Moreno Flores & Sebastian Calero, RDP House is a shipping container house made of eight containers. It is located in Pichincha, Ecuador. RDP House by Daniel Moreno Flores & Sebastian Calero: “The projects in which we get involved come as an answer to the understanding of all parties and to the singularities of each particular environment. Our intention is not to look for predetermined solutions, so..
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After four months of research identifying works in Latin America and the Caribbean that met the eligibility criteria of the ‘Latin American Architecture Prize Rogelio Salmona: open / collective spaces’ a list of finalist has been compiled. Members of the International Curatorial Committee, architects Ana Maria Duran (Andean Region), Ruth Verde Zein (Brazil Region) and Fernando Diez (Southern Cone Region), and Art History background Louise Noelle Gras (Mexico, Central America, and the Caribbean Region), postulated a total of 62 works covering the four regions.
On the 5th of August, upon completion of a shortlist the International Curatorial Committee selected 20 works whose authors will be invited by Rogelio Salmona Foundation to participate in the second round of this award.
Here are the 20 Finalists of the Latin American Architecture Prize Rogelio Salmona.
The jury that will decide the winners of the second cycle of Rogelio Salmona Prize shall consist of the members of the International Curatorial Committee and architect Wilfried Wang. The Prize will be awarded in a ceremony to be held in Bogota on last week of October 2016.
