Santiago Calatrava has won the competition to design the United Arab Emirates Pavilion for the Dubai World Expo in 2020. Nine finalists submitted 11 concepts that were evaluated on three criteria: their expression of Expo’s theme, “Connecting Minds, Creating the Future,” whether the design was evocative of the UAE, and if a balance was struck between the country’s past and future. Calatrava’s design proposes a 15,000 square meter pavilion with exhibition areas, an auditorium, food and beverage outlets, and VIP lounges. The design is meant to evoke the wings of a falcon in flight, linking itself to the country’s history of falconry to emphasize the country’s present day goals of global connectedness.
Courtesy of Santiago Calatrava
“The proposed design of the UAE Pavilion captures the story we want to tell the world about our nation,” said UAE Minister of State and National Media Council Chairman H.E. Dr. Sultan Ahmed Al Jaber. “Our late founding father His Highness Sheikh Zayed bin Sultan Al Nahyan used falconry expeditions to forge connections between tribes and to create a distinct national identity which ultimately led to the founding of the United Arab Emirates. Now, the falcon design will symbolize how we are connecting the UAE to the minds of the world and how as a global community we can soar to new heights through partnership and cooperation.”
Courtesy of Santiago Calatrava
Designed to LEED Platinum specifications, Calatrava’s pavilion was selected by the National Media Council of the United Arab Emirates in a competition overseen by Masdar, Abu Dhabi’s renewable energy company and the Expo program manager. Situated at the heart of the 500-acre exhibition site, the pavilion will be seen by 25 million visitors expected at the event between October 2020 and April 2021. The Expo will feature architecture, culture, and innovation, with participants from 180 countries, multilateral organizations, corporations, and educational institutions.
Courtesy of Santiago Calatrava
According to Santiago Calatrava, “I am deeply honored that our firm will have the opportunity to design the national pavilion for Dubai Expo 2020, a project with national and global significance. The final design will be a symbol of the UAE’s bold and daring spirit, reflected in what is poised to be the most inclusive and global Expo in history.”
Are you proud of your resume? Not for what’s contained in it—that part is super important, don’t get us wrong—but for how it’s visually presented and designed? Following the success of our business cards for architects post, we want our readers to share their innovative, eye-catching, well-formulated resumes (also called CVs, depending on where you live/work).
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From the architect. The uprooting from family relationships results being a common condition of contemporary life, losing affective bonds. Hence, from this project we address the construction of ways of living not only as social manager, but as a enabler of human connections revealing unexpected relationships that go beyond immediate utility. We want to generate the discovery of new senses, transforming the necessary in desire. Inhabit propitiate new ways of looking, according to Heidegger. “We are as we live in”.
So, our first approach is through basic shapes, a prism: as container working the essential, where complexity is acquired by the estructure’s relationships that we favor for interaction among its members. Thus, we give concession to design beyond primary gestures that move away from formal reminiscences, looking to not betrayed the essential.
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The project seeks to press to its limits the dwelling experience through dualities at different places to ensure levels of perception and interaction, which counterpose from intimate to collective, full to empty, internal to external, core to peripheral, expected to unexpected, continuous to fragmented. These give order to potential relationships.
We seek to deepen into ways to occupying space to enable an affective and evolutionary structure in time. We attempt to extend beyond physical boundaries of the buildings, through relationships that we establish with the sky, intimacy and collective. We try to debunk the intimate as an inner private space, as the farthest and isolated refuge. In the project, the vacuum occupies periphery (vulnerability area) through courtyards that made a continuous fragmented which in its relations with indoor enclosures allow different experiences understood from dual relations and posible gradations. Thus, the void assumes negotiation: interior – exterior, intimate – collective, core – periphery, continuous – fragmented, allowing us to establish complex connections: spaces and visual addressed diagonally and in movement between enclosures and courtyards, overlapping spaces, tridimensional twinned perforations which crossing enclosures, visual depth. We do not take for granted any relation, we seek them to be woven unexpectedly. There is a constant discovery.
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The footprint from the subtracted will be reveal by the change of materiality: wood. Concrete and its texture allows to have multiple narratives through shadow over the material.
For the architecture-obsessed reader, it can sometimes be tough to keep up with the publishing world. With architecture-related interests spanning from photography to philosophy, new books are released at an alarming rate and it can be difficult to spot the good from the bad. Fortunately, the good folks at Metropolis Magazine are here to help. In this article, excerpted from their list of 50 Architecture and Design Books to Read This Spring, Metropolis editors select the top architecture titles to come out this year to give you a helping hand in rounding out your reading list.
It’s often forgotten just how widespread Modernist architecture became. It could be argued that the building style was in fact far more international than its earliest pioneers could have possibly dreamed. But the dream died in 1989 (sooner in the West), with the triumph of reactionary politics and the ugly architectural aesthetics it embraced. Swiss photographer Nicolas Grospierre traveled the globe in search of the remnants of the Modernist century, capturing both the ruin and the lived-in building.
The Balneological Hospital Water Tower in Druskininkai, Lithuania. Image via Metropolis Magazine
“What began as a spontaneous response to a fast-changing urban environment would soon prompt a return to avant-garde ideals in Japan,” writes curator Pedro Gadanho of the context from which Toyo Ito, the largest star in contemporary Japan’s architectural constellation, arose. Like the exhibition it’s based on this handsome catalogue traces a lineage of sorts from Ito to Kazuyo Sejima of SANAA fame to their shared progeny—Sou Fujimoto, Akihisa Hirata, and Junya Ishigami.
Building upon Building Edited by Jantje Engels and Marius Grootveld Nai010, 208 pp., $22
via Metropolis Magazine
Now that the bad taste of Postmodernism has more or less worn off, it’s OK for architects to express their appreciation for history. This book, a catalogue of 45 building designs, is premised on that idea. Progressive European architects such as Anne Dessing and Bedaux de Brouwer were tasked with formulating a proposal for an addition to an existing historic building with the goal of assembling an architectural language expressive of “rooted values rather than indiscriminate forms.”
This fascinating book investigates the long-thought-to-be-apocryphal 1958–59 psychological studies conducted on the nation’s top architects, including Eero Saarinen, Philip Johnson, and Louis Kahn. The examinations, held at the University of California, Berkeley, consisted of interviews and aptitude tests—several of which appear in the book. A ranking table found Richard Neutra to be the “most creative” among the architect subjects, but also placed Johnson in the top five. Which is to say, such metrics are hopelessly spotty.
“In several recent African American museums, the use of visual symbols to render cultural identity remains two-dimensional at best,” writes architect Mario Gooden in one of the five original essays that compose Dark Space. Gooden analyzes among other topics the form of institutions such as the National Civil Rights Museum in Memphis. In so doing, he questions, and reaffirms, architecture’s ability to critically convey black America’s rich culture.
Founded in the late 1960s by architects, psychologists, and photographers and based in Venice, California, this collective practiced what it called “environmental photography.” Mostly documenting the urban quirks and “folk” architecture of Los Angeles, the images were disseminated in architecture schools through slides, splendidly reproduced here, plus a smattering of bulletins, clippings, and letters.
Julius Shulman: Modernism Rediscovered Written by Hunter Drohojowska-Philp, Owen Edwards, Philip J. Ethington, and Peter Loughrey Taschen, 1,008 pp., $300
via Metropolis Magazine
This three-volume monograph picks up where Taschen’s definitive Modernism Rediscovered (2000) left off. Where the earlier book was concerned with the Modernist legacy of Southern California, through the lens of Julius Shulman this new edition heads to other states and even abroad. The photographs were carefully chosen from the Shulman archives and represent 400 buildings.
This Brutal World Photographs by Peter Chadwick Phaidon, 224 pp., $49.95
via Metropolis Magazine
The recent revival of Brutalism has spun off a cottage industry of coffee-table books whose contents are often identical or full of egregious overlap. This Brutal World at least has the decency to acknowledge that it’s part of the problem. The brainchild of Brutalism enthusiast Peter Chadwick, it smartly opts for the broader sobriquet “brutal” in order to subsume buildings and architects who wouldn’t otherwise fit.
To see more recommendations in the fields of Urbanism, Landscape Architecture, Graphic Design and more, head on over to the full list of 50 Books to Read This Spring at Metropolis Magazine.
The Public Library is part of a public-private initiative taken to rebuild the city of Constitución after the 8.8 degrees earthquake and tsunami that devastated the town during the year 2010. It is a small settlement situated in the very core of one of the biggest clusters of wood production in Chile. This situation gives identity to the town and also creates the best conditions to find not only high quality wood materials but also extremely well gifted carpenters to carefully craft a wooden building.
With regard to the formalization of the project; it is the result of three main decisions. Firstly: In order to overlook the millenary trees of the civic square that is in front of the site; to rise the library 1,6 meters over street level. Secondly: With the purpose to filter and balance the light; to cover the 3 main areas of the programme (children, young and adult readers) with 3 reticulated wood naves and Thirdly: In consideration to communicate the public character of the edifice; to organize the façade with 3 monumental glass cases that not only invites to see new books arrivals but also -with its benches and canopies – offer shelter to the passerby.
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Regarding the construction of the building; it is made almost entirely in wood and only the firewalls are done with exposed poured concrete. The structure is prefabricated and is made out of laminated pine. In order to rhythm the interior space and to make the loads and the construction process understandable, the wood beams an pillars are kept as visible as possible.
Coating the wood with water white varnish enhances the required luminosity of the spaces and also creates homogeneity between the structure and the on site built furniture. The other colors that can be seen in fabrics were chosen to mimic the colours of the trees and leaves of the square.
In anticipation of the upcoming 50th anniversary of Expo 67, Studio Dror has proposed a 150-meter-wide vegetated dome for Park Jean Drapeau, the original site of the World Fair. The new dome would complement Buckminster Fuller’s Biosphere, which was built as the US pavilion for Expo 67.
Following a tour of Île Sainte-Hélène with the Buckminster Fuller Institute, Studio Dror was inspired to propose the new dome as a partner for Fuller’s “lonesome structure.”
“Interacting like the sun and the moon, our concept engages in a poetic dance with Fuller’s design, realizing the park’s potential in a contemporary context,” studio founder Dror Benshetrit said in a press release.
Courtesy of Dror
Differentiating itself from Fuller’s original dome, the new proposal’s aluminium structure will also include a vegetated sound buffer. “As with 1967, 2017 is not just another celebration—it’s the opportunity for a new beginning,” Dror Benshetrit said. “Our living dome is a catalyst for dreaming. The possibilities are endless.”
Courtesy of Dror
Providing both an iconic addition to Montreal’s skyline, and a backdrop for events year round including music festivals, live performances and public art exhibitions, the space is billed as having the potential to “transform the park into a global cultural destination.”
Structural and landscape specialists have affirmed the possibility of the project, claiming it could be ready to welcome guests in two years.
This weathering steel staircase by engineering studio Close to Bone cantilevers off a hill in Flanders, forming an observation tower overlooking rolling farmland and the Kabouterbos forest (+ slideshow). (more…)
