One week left to vote for the BigMat International Award 2017 Public Prize!

October 17, 2017

Vote now! The winner of the Public Choice Award will be announced along with the other prizes and will be invited to attend the Awards Ceremony of the BigMat’17 International Architecture Award, which will take place at Palazzo Vecchio in Florence, Italy, on November 24th.

 

Offices in Zamora, by Alberto Campo Baeza. Winner of the 2015 BigMat International BigMat Award © Javier Callejas

Offices in Zamora, by Alberto Campo Baeza. Winner of the 2015 BigMat International BigMat Award © Javier Callejas

 

Until October 24, 2017 you can vote for any three of your favourite projects among the 87 shortlisted in the BigMat International Architecture Award. Voting is open for all citizens residing in any of the participating countries: Belgium, France, Spain, Portugal, Italy, Czech Republic and Slovakia.

The project chosen by the participants will be included in the catalogue along with the other winning entries. The prize will be also awarded with 1.500 euros.

(more…)

“Piccolomini” drawings by Pier Vittorio Aureli at Betts Project

October 17, 2017

Betts Project presents Piccolomini, an exhibition of architect Pier Vittorio Aureli. This will be the artist’s second solo exhibition at the gallery, showing a new series of pastel drawings.

 

"Piccolomini" exhibition view © Pier Vittorio Aureli, courtesy Betts Project

“Piccolomini” exhibition view © Pier Vittorio Aureli, courtesy Betts Project

 

These pastels on paper are part of a large series developed during several years; in essence, they are landscapes. They play with the most fundamental datum of the landscape genre, which is the horizon line. In painting, the hori- zon line is the axis through which, in the last six centuries, every Western depiction of space has been constructed. The horizon line is the most artificial and arbitrary datum though which we produce representations of space, and yet it has become one of the most potent means of naturalizing our perception of space.


 

Practical information

“Piccolomini”
September 29 –  November 18, 2017
Betts Project Gallery
100 Central Street, London
United Kingdom

 


All the conflicts, cracks, and contradictions that have produced the land as we see it are subsumed and equalized by the establishment of the horizon line.

 

"Piccolomini" exhibition view © Pier Vittorio Aureli, courtesy Betts Project

“Piccolomini” exhibition view © Pier Vittorio Aureli, courtesy Betts Project

"Piccolomini" exhibition view © Pier Vittorio Aureli, courtesy Betts Project

“Piccolomini” exhibition view © Pier Vittorio Aureli, courtesy Betts Project

 

For centuries the horizon remained hidden behind elaborate compositions. It was only in17th century Dutch and Flemish landscape painting that the horizon line was made visible as the most explicit feature of the painting itself. In the paintings of Jan Porcellis, Jacob van Ruisdael and Pieter Snayers, the horizon becomes so overwhelming that it completely subsumes the vanishing point and any compositional feature that is not just the axis of the horizon.

 

"Piccolomini" exhibition view © Pier Vittorio Aureli, courtesy Betts Project

“Piccolomini” exhibition view © Pier Vittorio Aureli, courtesy Betts Project

"Piccolomini" exhibition view © Pier Vittorio Aureli, courtesy Betts Project

“Piccolomini” exhibition view © Pier Vittorio Aureli, courtesy Betts Project

 

The Piccolomini pastels on paper push to the extreme this logic of the horizon and as such they attempt to offer a final meditation on the very tradition of landscape painting at the moment in which this genre has been abandoned by artists and is seen as outmoded and romantic.

The series is named after general Ottavio Piccolomini for whom the Flemish baroque painter Pieter Snayers painted several battle scenes among which one of the most striking landscapes ever conceived – The Battle of Lützen (1632) – a painting that might have inspired one of the greatest paintings of the 17th century: Diego Velasquez’s Surrender of Breda (1634).

— Pier Vittorio Aureli, 2017

 

"Piccolomini" exhibition view © Pier Vittorio Aureli, courtesy Betts Project

“Piccolomini” exhibition view © Pier Vittorio Aureli, courtesy Betts Project

"Piccolomini" exhibition view © Pier Vittorio Aureli, courtesy Betts Project

“Piccolomini” exhibition view © Pier Vittorio Aureli, courtesy Betts Project

"Piccolomini" exhibition view © Pier Vittorio Aureli, courtesy Betts Project

“Piccolomini” exhibition view © Pier Vittorio Aureli, courtesy Betts Project

"Piccolomini" exhibition view © Pier Vittorio Aureli, courtesy Betts Project

“Piccolomini” exhibition view © Pier Vittorio Aureli, courtesy Betts Project

"Piccolomini" exhibition view © Pier Vittorio Aureli, courtesy Betts Project

“Piccolomini” exhibition view © Pier Vittorio Aureli, courtesy Betts Project

PIER VITTORIO AURELI was born in Rome in 1973. He graduated in architecture at the IUAV in Venice and earned his PhD at the TU Delft in 2005. His main research focus is the relationship between architectural form, political theory and urban history. He teaches at the Architectural Association in London and is also Visiting Professor at Yale School of Architecture. Aureli has written many essays on architecture and the city, and is the author of several books, notably ‘The Possibility of an Absolute Architecture’ (2011), ‘The Project of Autono- my: Politics and Architecture within and Against Capitalism’ (2008), and is the editor of the recently published collection of essays ‘The City as a Project’ (2014). Together with Martino Tattara he is the co-founder of the architectural office Dogma. Since its foundation Dogma has worked on the relationship between architecture and the city by focusing mostly on urban design and large-scale projects. In 2006 Dogma won the first Iakov Chernikhov Prize for the best emerging architectural practice. In 2013 an exhibition and accompanying cata- logue, ‘Dogma: 11 Projects’ opened at the Architectural Association in London. Part of the Dogma archive of drawings and collages is in the collection of the FRAC Centre in Orleans.
Aureli’s drawings are part of the Drawing Matter collection as well as private collections.

On Thursday 16 November 2017 Pier Vittorio Aureli will give a lecture at the Barbican, an event organised by the Architecture Foundation, in association with the Barbican.


 

News source and text: Betts Project
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“Japan-ness. Architecture and urbanism in Japan since 1945″ at Centre Pompidou-Metz

October 17, 2017

According to the architect Arata Isozaki, Japanese architecture sets itself apart by the immutability of certain values and by an identity that architects have constantly reinterpreted over the centuries. He characterises this distinctiveness, the common theme of the exhibition, with the expression “Japan-ness”.

 

Junya ISHIGAMI, Atelier KAIT, Institut de technologie de Kanagawa, 2008 © Junya ISHIGAMI © Shokokusha Photographer

Junya ISHIGAMI, Atelier KAIT, Institut de technologie de Kanagawa, 2008 © Junya ISHIGAMI © Shokokusha Photographer

 

The exhibition is based on Centre Pompidou collection, enriched with works and models from architects’ studios, designers, Japanese museums and private collections. This body of works, exhibited for the first time on this scale in Europe, provides a better understanding of the profusion and richness of Japanese architecture and urban design.  (more…)

“Dom Hans van der Laan. A House for the Mind” at deSingel Antwerpen

October 14, 2017

In 1977 the architect and monk Dom Hans van der Laan published ‘The Architectonic Space, 15 lessons in the Disposition of Human Dwelling’. This was a theory that was intended to capture and bring order to the essence of the spatial experience as the basis for the design process. The exhibition seeks out the tangible world associated with Van der Laan’s philosophy.

 

"Dom Hans van der Laan. A House for the Mind" © Coen van der Heiden

“Dom Hans van der Laan. A House for the Mind” © Coen van der Heiden

 

Whilst he was writing his treatise, Van der Laan was building Roosenberg Abbey in Waasmunster. In this project, he intuitively worked with concepts such as ‘proximity’ and ‘superposition’ as spatial gestures for stillness and spirituality on the one hand, and intensity of encounter on the other. As well as original drawings and models, A House for the Mind will present fresh analyses by academics and artists on teaching material, furniture, tableware, clothing and typography by Van der Laan. These are the silent witnesses to a sojourn at the abbey. (more…)

“Metamorphosis of Tour Montparnasse” exhibition at Pavillon de l’Arsenal

October 13, 2017

Through models, 3D animation films, plans and perspective drawings the exhibition presents in great detail the 7 projects proposed in the international consultation for the transformation of Tour Montparnasse, one of Paris’ symbols of modernity and innovation.

 

Winner proposal by Nouvelle AOM (Franklin Azzi / Chartier Dalix / Hardel et Le Bihan) © Nouvelle AOM

Winner proposal by Nouvelle AOM (Franklin Azzi / Chartier Dalix / Hardel et Le Bihan) © Nouvelle AOM

 

From the start, Montparnasse Tower was conceived as a bold statement, a symbol of modernity and innovation. The 210-metre skyscraper in the Montparnasse district of Paris — for many years the tallest in Europe — is an impressive sight on the city’s skyline. This superstructure of concrete, steel and glass was a formidable challenge to build, both technologically and financially, on a par with the great Haussmann style developments of the previous century. The tower was the crowning architectural achievement of the newly developed Maine-Montparnasse district, completed in the 1970s.  (more…)

“Norman Foster. Common Futures” at Espacio Fundación Telefónica

October 12, 2017

The aim of the exhibition is to popularize the architect’s work and his vision of the future among a wide audience while revealing his sources of inspiration. The exhibition focuses on continuities, transversal variables in Foster’s work, and confirms how the future and the past can inspire the present.

 

Mexico City Airport (2014) © Norman Foster Foundation

Mexico City Airport (2014) © Norman Foster Foundation

 

Since his early works more than half a century ago, Norman Foster’s architecture has sought to employ technical expertise to anticipate the future and to overcome physical and social barriers. Inspired by both historical constructions and scientific progress, his projects reconcile tradition and modernity, urban intelligence and transformative capacity, aesthetic excellence and technological innovation.


 

Practical information

“Norman Foster. Common Futures”
October 6, 2017 – February 4, 2018
Espacio Fundación Telefónica
Calle Fuencarral, 3
28004 Madrid

 


On the occasion of the public presentation of his foundation in Madrid, the Norman Foster Foundation, this exhibition – curated by Luis Fernández-Galiano, Senior Professor of Projects at the School of Architecture of the Polytechnic University of Madrid (ETSAM) and Editor of the Spanish magazine AV/Arquitectura Viva – documents twelve recent projects entering into dialogue with similar proposals from previous decades to underline the continuity of his concerns and to bring to light the variety of his interests.

 

Prado Extension (2017-) © Norman Foster Foundation

Prado Extension (2017-) © Norman Foster Foundation

Apple Park (2010-2017) © Norman Foster Foundation

Apple Park (2010-2017) © Norman Foster Foundation

 

From involvement in heritage buildings to habitat projects for the Moon and Mars, Fosters work recovers the memory of the past and anticipates the needs of the future while remaining firmly anchored among the demands and urgencies of the present. All Foster’s proposals – the new work and culture spaces, care for cancer patients and populations lacking infrastructures, sustainable urban development and raised cycle paths – stimulate the endeavour to make our cities more liveable. All with the dominant themes of social awareness, openness to change and innovation.

 

Château Margaux (2009-2015) © Norman Foster Foundation

Château Margaux (2009-2015) © Norman Foster Foundation

Lunar Habitation, 2009 © Norman Foster Foundation

Lunar Habitation, 2009 © Norman Foster Foundation

 

Thus, this Norman Foster exhibition in Spain is held under the auspices of Fundación Telefónica at Espacio Fundación Telefónica, a building which was a paradigm of innovation in its day, the first skyscraper to be built in Spain, whose impressive structure is highlighted by the montage of the display. It is also appropriate for its central area to be occupied by a set of machines at the service of movement – from the bicycle to the space capsule – which are, in turn, an inspiration for these lightweight architectures and a symbol of a fast-paced world undergoing constant change.

 

Cockpit 1963 © Norman Foster Foundation

Cockpit 1963 © Norman Foster Foundation

Fred Olsen Amenity Building 1968-1970 © Norman Foster Foundation

Fred Olsen Amenity Building 1968-1970 © Norman Foster Foundation

Barn Drawings (1958) © Norman Foster Foundation

Barn Drawings (1958) © Norman Foster Foundation

Carré-d’Art-1984-1993 © Norman Foster Foundation

Carré-d’Art-1984-1993 © Norman Foster Foundation

Droneport 2015 © Norman Foster Foundation

Droneport 2015 © Norman Foster Foundation

 

In addition, in the twelve sections of the exhibition, we can run through Fosters ideas on different topics of social interest, following an itinerary which begins with a reflection on the past and ends with the future, taking in culture, work, well-being and sustainability. Each section presents a recent project together with another from his initial period, demonstrating the continuity of these features in his architecture, constantly focused on the prefiguration of a common future.

TWELVE DIALOGUES. TWELVE POSSIBLE FUTURES

  1.  The future of the past. Barn drawings (1958) – Château Margaux (2009)
    We need the past as nutritional support for the present. Our understanding and our emotions live off our memories, but creative activity also uses experience as a source of inspiration.
  2. The future of culture. Carré D´Art Nîmes (1984) – Prado Museum Extension (2016)
    Culture is constructed upon the solid foundations of inherited heritage, together with new strata of interpretation and creation.
  3. The future of the form. Willis Faber (1971) – Bloomberg (2010)
    The architectural form should not be a flight of fancy or a desire to attract attention by means of extravagance. Instead, it should respond to an internal logic integrating composition and construction, the shortest route towards a beauty which is often difficult to grasp or define.
  4. The future of the function. Functionalism. Sainsbury Centre (1974) – Casa de Gobierno Buenos Aires (2010)
    New works should have sufficient flexibility to adapt to the functional changes required in the future.
  5. The future of work. Olsen Offices (1969) – Apple Campus 2 (2009)
    Robotization and mechanization will radically transform the future of work, but the spaces which house it will also undergo substantial changes.
  6. The future of welfare. Palmerston Special School (1973) – Maggie Centre (2013)
    Architecture does not only address the dimensions and needs of the standard person codified in the ergonomic manuals; instead, it should be able to provide welfare for other subjects, for the sick and those who suffer from some kind of disability.

 

"Norman Foster. Common Futures" exhibition view © Telefonica Foundation

“Norman Foster. Common Futures” exhibition view © Telefonica Foundation

 

  1. The future of building and architecture. Climatroffice (1971) – Mexico City Airport (2014)
    The history of architecture eloquently demonstrates the commitment of the construction of any age to overcome its own limits, setting itself increasingly ambitious challenges.
  2. The future of technology. Droneport (2015) – Autonomous House (1982)
    The best technique is not the most complex one, but rather the most appropriate one.
  3. The future of mobility. Of transport. Bilbao Metro (1988) – SkyCycle London (2013)
    Improving urban mobility by making it less wasteful of energy and time is a priority for any civil governance, and this is a task to which urban planning and architecture can contribute.
  4. The future of sustainability. Masdar Development (2007) – Gomera (1975)
    There is, perhaps, no more important issue nowadays than the transformation of our economic and territorial model to make it more sustainable.
  5. The future of the networks. Collserola (1988) – Thames Hub (2011)
    The design of the nodes of these networks acquires singular importance, because their capacity and effectiveness condition the volume and dynamism of physical and computer-based flows.
  6. The future of the future. Cockpit (1964) – Moon (2012)/Mars (2015)
    The space agencies are exploring the possibility of building habitats on the Moon and Mars, embodying the long-standing dream of mapping terrestrial life forms beyond our planet.

 

"Norman Foster. Common Futures" exhibition view © Telefonica Foundation

“Norman Foster. Common Futures” exhibition view © Telefonica Foundation

"Norman Foster. Common Futures" exhibition view © Telefonica Foundation

“Norman Foster. Common Futures” exhibition view © Telefonica Foundation

"Norman Foster. Common Futures" exhibition view © Telefonica Foundation

“Norman Foster. Common Futures” exhibition view © Telefonica Foundation

 

LORD NORMAN FOSTER

After graduating from the University of Manchester School of Architecture and City Planning in 1961, Norman Foster won a Henry Fellowship to attend Yale University, where he was a student at Jonathan Edwards College, obtaining a master’s degree in Architecture.

In 1967 he created Foster Associates, which later became Foster + Partners, where he continues to serve as Executive President. In 1999 he became the 21st recipient of the Pritzker Architecture Prize and, in 2002, he was awarded the Praemium Imperiale for Architecture in Tokyo. In 2009 he won the 29th Prince of Asturias Award for the Arts and obtained the Cross of the Order of Merit of the Federal Republic of Germany. In 1997 he was awarded the Order of Merit by the Queen of the United Kingdom and, in 1995, he received the title of Baron Foster of Thames Bank.

 

"Norman Foster. Common Futures" exhibition view © Telefonica Foundation

“Norman Foster. Common Futures” exhibition view © Telefonica Foundation

"Norman Foster. Common Futures" exhibition view © Telefonica Foundation

“Norman Foster. Common Futures” exhibition view © Telefonica Foundation

"Norman Foster. Common Futures" exhibition view © Telefonica Foundation

“Norman Foster. Common Futures” exhibition view © Telefonica Foundation


 

News source: Espacio Fundación Telefónica
Subscribe here to get weekly updates about architecture events and exhibitions.

“Charles & Ray Eames. The Power of Design” at Vitra Design Museum

October 11, 2017

Featuring a large selection of original works – including films, photographs, furniture, drawings, sculptures, paintings, textiles, graphic design, models and stage props – the retrospective illustrates the congenial synergy bet ween the personalities of Charles and Ray Eames.

 

Ray Eames, Study for a room display for the exhibition »For Modern Living«, 1949 © Eames Office LLC

Ray Eames, Study for a room display for the exhibition »For Modern Living«, 1949 © Eames Office LLC

 

The exhibition in the main building of the Vitra Design Museum offers a comprehensive overview of the complete oeuvre and shared life of this husband-and-wife team, which formed the foundation of a lifetime of work by what was arguably the most successful design duo in history. (more…)

“Adam Nathaniel Furman: The Roman Singularity” at Sir John Soane’s Museum

October 10, 2017

To coincide with the 15th London Design Festival the Sir John Soane’s Museum presents ‘The Roman Singularity’ by architectural designer Adam Nathaniel Furman, a city of 3D- printed models celebrating Rome as the pilgrimage site for the world’s imagination, alongside a new site-specific work created by Furman especially for the museum.

 

Adam Nathaniel Furman 'The Roman Singularity’ © Roberto Apa

Adam Nathaniel Furman ‘The Roman Singularity’ © Roberto Apa

 

Rome is a rich palimpsest of masterpieces, their remains, ruins, and fragments from innumerable historical periods since the Roman Republic, a veritable collection of epochs. But Rome is also a crucible of modernity, a repository for possible futures precisely because it is and has been the seat of so much power, and so many dreams, which together with the authority of its past almost force it to be perpetually radical about the present. (more…)

“COAM Prize 2005-2016. Madrid’s recent architecture” at COAM Madrid

October 8, 2017

The Official College of Architects of Madrid celebrates the ninth anniversary of it’s annual prize with the edition of a special catalog and exhibition looking back at the best architecture of the last decade. Photographs, plans, drawings and architect’s thoughts on over 150 projects, curated by architecture critic Edgar González.

 

COAM Prize 2017. Three Wise Men Carriages, by Elii © Imagen Subliminal

COAM Prize 2017. Three Wise Men Carriages, by Elii © Imagen Subliminal

 

Reviewing Madrid’s contemporary architecture is an interesting but vastly complex task. The Official College of Architects of Madrid (COAM) annually awards the COAM Prize, a recognition to  architectural excellence. The award, renowned all over Spain, is given to any works built in the Madrid Region since 2005. (more…)

“The Terrassenhaus. A Viennese Fetish?” at Architekturzentrum Wien

October 5, 2017

The Terrassenhaus is more topical than ever. The new SammlungsLab exhibition format provides an opportunity to examine the concept in the context of contemporary building practise. Since the design of the Terrassenhaus by Adolf Loos in 1923, this type of development has been regarded as an innovative type of urban housing in Vienna.

 

Harry Glück & Partner, Kurt Hlaweniczka, Franz Requat und Thomas Reinthaller, Housing complex Alterlaa, 1973-1985, 1230 Vienna, Anton-Baumgartner-Straße 44 © Architekturzentrum Wien, Collection, Margherita Spiluttini

Harry Glück & Partner, Kurt Hlaweniczka, Franz Requat und Thomas Reinthaller, Housing complex Alterlaa, 1973-1985, 1230 Vienna, Anton-Baumgartner-Straße 44 © Architekturzentrum Wien, Collection, Margherita Spiluttini

 

The first SammlungsLab pursues the phases of development and significance of the Terrassenhaus from that day to this. The Terrassenhaus promises to fulfil user-demand for a closeness to nature in combination with urban density. It also opens up formal possibilities for architects to reinterpret the closed housing block. (more…)