The video shows the relationship between architecture and the environment, the nature that surrounds it, the context in which it is located and how it reacts to different weather conditions.
It was filmed in India in July 2012 with a Canon 5D Mark II, and was part of the exhibition of the BSI Swiss Architectural Award 2012, which opened in September at the Academy of Architecture in Mendrisio (Switzerland).
Architect: Studio Mumbai
Architecture: Copper House II
Join the curator Jochen Eisenbrand on a tour through the exhibition »Louis Kahn – The Power of Architecture«:
The American architect Louis Kahn (1901-1974) is regarded as one of the great master builders of the twentieth century. Kahn created buildings of archaic beauty and powerful universal symbolism, with complex spatial compositions, an elemental formal vocabulary and a choreographic mastery of light. Numbering among his most important works are the Salk Institute in La Jolla, California (1959- 65), the
Kimbell Art Museum in Fort Worth, Texas (1966-72), the Indian Institute of Management in Ahmedabad (1962-74) and the National Assembly Building in Dhaka, Bangladesh (1962-83).
ヴィトラ・デザインミュージアムで行われたルイス・カーン展「The Power of Architecture」の会場の様子。
This short film is on noted architect Shigeru Ban’s design for The Aspen Art Museum in Aspen, Colorado. Through cinematic timelapse and motion sequences, the film explores the museum’s architectural design and built environment and features interviews with Pritzker Prize Laureate, Shigeru Ban, and the museum’s Nancy and Bob Magoon CEO and Director, Heidi Zuckerman. Produced by Redsquare Productions: redsq.us
8-House is located in Ørestad on the edge of Copenhagen. 8-House offers homes for people in all of life’s stages: the young and the old, singles, families that grow and families that become smaller. Instead of dividing the different functions of the building – for both habitation and retail – into separate blocks, the various functions have been spread out horizontally. The apartments are placed at the top while the commercial program unfolds at the base of the building. As a result, the different horizontal layers have achieved a quality of their own: the apartments benefit from the view, sunlight and fresh air, while the commercial merges with life on the street.
Frank Gehry is one of the most renowned architects of our time. The Vitra Design Museum is dedicating an exhibition to him that shows large-scale models of his most famous buildings, such as the Guggenheim Museum in Bilbao, the Concert Hall in Los Angeles, and IAC in New York. More info, photo galleries and complete video: http://vernissage.tv/blog/2010/11/15/frank-o-gehry-since-1997-at-vitra-design-museum/
ヴィトラ・デザインミュージアムで行われたフランク・ゲーリー展「Frank O. Gehry Since 1997」の様子。
I produced Architecture & Influence as part the Philip Johnson Glass House Oral History Project for use on their web site and in their visitor center. Working with Project Director, Dorothy Dunn, we interviewed Norman Foster, Michael Graves. Charles Gwathmey, Richard Meier, Jaquelin T. Robertson, Richard Rogers, Vincent Scully, and Robert A. M. Stern–individuals for whom Philip Johnson was mentor, sponsor, and friend. I was responsible for selecting excerpts from the oral history interviews, selecting imagery, and scripting and editing the program in collaboration with Dorothy Dunn.
BSI Swiss Architectural Award 2014 / winner — José María Sánchez García, Spain
This video was shot with a Canon 5D Mark II in Mérida (Badajoz, Spain) in June 2014, as a collaboration with the architecture photographer Enrico Cano (enricocano.it).
The aim was to show the building in its complexity and with the surrounding environment, to document the project of José María Sánchez García during the exhibition of BSI Swiss Architectural Award 2014 (bsi-swissarchitecturalaward.ch).
Architect: José María Sánchez García, Spain (jmsg.es)
Architecture: Environment of the Diana Temple (2005-2008)
On the run up to the Stirling Prize, 2016, The Architect’s Journal takes a look into the six nominated buildings, with interviews from the architects.
Made up of 235 tenure-blind, high-quality homes of which 25% are affordable dwelling. The project transforms the built environment whilst respecting the history of neighbouring buildings. Trafalgar Place is a flagship housing project for Lendlease and is a part of their wider redevelopment of the Elephant and Castle.
The transformation of the former Heygate Estate enriches the qualities of the area, creating a thriving, desirable place to live, work and visit. Separate buildings are integrated within an open green landscape characterised by mature trees and diverse new planting. A new public realm within the historic fabric of the neighbourhood is created.
Quick video about the exhibition on Oscar Niemeyer that took place at Tokyo Museum of Contemporary Art, last October.
Project : Oscar Niemeyer – The Man Who Built Brasilia (Exhibition)
Location : Museum of Contemporary Art Tokyo, Japan
Filmed & Edited by : Vincent Hecht
Music : ” Pra Que Discutir Com Madame?” – João Gilberto
Equipments : Canon 5D MkII + 24mm TS-E f/3.5 + 50mm f/1.4 + 100mm f/2.8
Special Thanks to Mr André Corrêa do Lago, Ambassador of Brazil, in Tokyo.
TitanPointe, a windowless skyscraper in downtown Manhattan that was found to be the NSA’s spy hub by the Snowden document. A documentary on this buildings designed to withstand nuclear explosions.
Shinkenchiku (New Architecture) January 2011
Teshima Art Museum
Architect: Ryue Nishizawa
Art: Rei Naito
For more Japanese architecture visit www.japlusu.com/
Learn more about architects Álvaro Siza and Eduardo Souto de Moura, whose work appears in the Royal Academy exhibition ‘Sensing Spaces: Architecture Reimagined’.
For more information on the exhibition see www.royalacademy.org.uk/sensingspaces
ロンドンのロイヤル・アカデミー・オブ・アーツの展覧会「Sensing Spaces: Architecture Reimagined」のために制作された、アルヴァロ・シザとエドゥアルド・ソウト・デ・モウラの作品とインタビューの動画。
Postmodernism is the notoriously slippery subject tacked by the V&A’s exhibition, ‘Postmodernism: Style and Subversion 1970-1990’. This fast-paced film features some of the most important living Postmodern practitioners, Charles Jencks, Robert A M Stern and Sir Terry Farrell among them, and asks them how and why Postmodernism came about, and what it means to be Postmodern.
Andrew Logan: Post modernism – yes, I still really don’t understand what post modernism is. I’ve been told many times and it’s been explained to me many times and I still am bewildered. But perhaps that’s part of the movement – bewilderment.
Malcolm Garrett: I don’t think I really know too much about what post modernism actually is. For me, it’s primarily an architectural movement.
Robert A M Stern: Post modernism was a kind of style and it was kind of outrageous style at that.
Zandra Rhodes: I think we’re originals, but it wasn’t until I got spoken to by the V&A that I thought about anything that was post modern.
The way I worked I described as retrievalism.
Charles Jencks: The Independent said do use the word ‘post modernism’ because it means absolutely nothing and everything.
Malcolm Garrett: I called myself a new futurist for a while. So that’s a term I would use rather than post modernism.
Andrew Logan: Well, I suppose I had a very post modernist occurrence – I took acid. Normal things suddenly turned into something extraordinary.
Zandra Rhodes: Well, in 1977 punk was just starting to happen and I thought why not do tears that actually look like tears and then got safety pins and beaded round them like 12 years before Versace.
Malcolm Garrett: I had access to the first photocopier and I was able to modify and change the look of the image using a photocopier.
Peter Saville: And, of course, in the 70s and into the 80s the record cover was this incredibly important, vital medium of visual information. There were the music papers and occasionally the Sunday Times colour supplement might just do something about Andy Warhol in New York and that would be about it.
Paula Scher: In the 70s when I first started designing there was a predominance of the international style where the ultimate goal was to be clean and I always felt that that was like trying to clean up your room. So I was looking for ways of designing typography that could be more expressive, that were not about creating order but were about creating spirit.
Robert A M Stern: Times Square was where we were in charge – the whole revitalisation of Times Square is a very interesting, complicated story, but it does show the difference between the modernist point of view of how to redevelop or to develop a city and what we were able to do …
Charles Jencks: Post modern architecture is really to do with pluralism. You’ll find its depth, all of the great post modernism, the philosophy and now in literature, is about pluralism, pluralism, pluralism.
Robert A M Stern: To say, no, no, it’s a mess, in fact we ought to make it more of a mess. The world comes to Times Square not for tidykins, but for mess.
Charles Jencks: It’s accepting that the modern world with Freud, Marx, Henry Ford, mass production, is positive, but it can be radically improved.
Robert A M Stern: We studied the signage in Times Square and then we set minimums, minimums for sizes of signs, minimums for brightness of signs. What we were legislating in a way the capitalist impulse. Once you tell an entrepreneur that his or her sign can only be this big, he will be satisfied, he will agree with it. But if you say it can be this big or bigger or brighter, well everybody wants to compete in a capitalist society.
Charles Jencks: So you have to be on the one hand ironic about failures, probably the beginning of a new depression, another crisis of modernism, modernisation, modernity. What’s going to get us out of this? We have to re-think the modern movements in all the arts and in society and post modernism is the umbrella term for re-thinking.
Robert A M Stern: We knew 42nd Street was an incredible success when the Consolidated Edison Company called the State of New York and said, you know our grid is zapped out.
Peter Saville: In the case of, particularly, Joy Division and then New Order, they could never exactly agree amongst themselves. There was no hierarchical structure, particularly in New Order after the end of Joy Division, after Ian Curtis had died. The responsibility for the covers came to me and so they were about what I was interested in, they were about in a way beginning to learn the canon.
Carol McNicoll: The thing that I was doing was I was using slip casting. A lot of the Leach tradition and minimalist things also had that idea of expressing the deep, inner, mystic qualities of clay. And I thought that was a load of complete rubbish. And I thought what was wonderful about clay was the fact that you could make it look like anything else.
V&Aの展覧会「Postmodernism: Style and Subversion 1970-1990」に合わせて収録された、ポストモダニズムの実践者たちへのインタビュー集。チャールズ・ジェンクス、ロバート・A・M・スターン、ザンドラ・ローズ、ピーター・サヴィルなど。
A trailer of a documentary “Integral Man” depicting the relationship between James Stuart, a mathematician / violinist and his “Integral House” designed by Shim-Sutcliffe Architects.
Kenneth Frampton (Columbia University), Esra Akcan (Cornell University), and Mark Jarzombek (Massachusetts Institute of Technology) discuss approaches to architectural history today.
This year, the Serpentine Galleries in London celebrate the 15th anniversary of the Pavilion commission. Starting with Zaha Hadid as the architect of the first Serpentine Pavilion in 2000, many world-famous architects have created temporary structures in London’s Hyde Park, including Frank Gehry, 2008; Rem Koolhaas and Cecil Balmond, with Arup, 2006; Oscar Niemeyer, 2003; Daniel Libeskind with Arup, 2001; and Smiljan Radić, 2014. In 2015, Spanish architects selgascano (José Selgas and Lucía Cano) designed the 15th Serpentine Pavilion. The Pavilion is an amorphous, double-skinned, polygonal structure consisting of panels of a translucent, multi-colored fluorine-based polymer (ETFE) woven through and wrapped like webbing. The architects’ inspiration comes from the site itself, as well as from the ways in which people move through London, notably the Underground with its many-layered, chaotic yet structured flow.
Umimirai Library is a public library in the western part of Kanazawa, a slow 20-minute drive from the city center. Designed by Coelacanth-K&H Architects, an architecture firm based in Tokyo, and opened in June 2011, the three-story self-described “cake box” was intended to invigorate this sleepy area of town, a low-lying neighborhood of dreary houses and big box stores that lacked any hubs of activity or real public space. But ask the man on the street about it and you’ll most likely encounter a blank. We inquired at the Tourism Center for directions and even they had to google it. Apparently, not much happens in this part of town — not yet at least, which is sort of the point of the library.
The building is a large white box perforated with hole-punched windows that light up the interiors naturally in the day and at night glow out like portholes of a giant ship. There is a maritime feel to the place, probably unintended, or maybe since it was designed by a firm whose name evokes the ancient deep sea the contrary feelings of floating and drifting and being submerged are all by design. We could easily imagine how much we’d love coming here if this were our local, an airy place with soft, diffused light that lends room to learn, daydream, and to remember. Song lyrics echo in the mind: “…and our friends are all aboard / many more of them live next door…” It’s a peaceful, sublime place, this literary submarine.
The main reading room with its 40-foot ceilings provides a grand scale that all great libraries have, from the NYPL on Fifth Avenue to Suzzallo on the University of Washington campus. In fact, we liked Umimirai so much more than that other notable library in Seattle — Rem Koolhaas’ central library — a dazzling structure, no doubt, but a place that’s more like a puzzle than a place to retreat. Once you get past the spectacle of its punctured skin, the Umimirai Library is a comfortably traditional place. It’s no wonder the library is filled with young children, the elderly, and students — a library’s most loyal patrons. Sure there are modern features like glassed-in cellphone booths and self-service checkout stations. But we were most envious of the spacious newspaper reading room — an old man’s joy — with its canted desks, localized lighting, and drawers full of past days. Japan is a nation where the newspaper is still very much a part of everyday life, and that Coelacanth-K&H Architects featured this reality underscores the success of its design and their intent to insinuate the library into the community’s daily activities.
For us, so much about Japan feels like a bizarro alternate reality where — like with the newspaper that’s disappearing everywhere else — the rest of the world moves right while Japan turns left. This library feels no different. These days, investing in a new library seems like a counter-intuitive act where, at least in the U.S., branch libraries close one-by-one and already meager budgets continue to be slashed. It’s impossible, laughable even, to imagine our cramped Chinatown branch being replaced by the gleaming Umimirai Library … which says everything about this library and this town and why we love Japan so much. It feels like a luxury that a space like this was newly built, a sign that that the city believes in its people, that believes the act of reading is worth investing in, that believes these things will continue to matter in the future and that it’s important for these people and activities to come together in an inspiring and provocative space.