Archinect - News 2014-04-17T08:46:10-04:00 http://archinect.com/news/article/91919143/ecumonopolis-city-without-limits Ecumonopolis: City Without Limits Orhan Ayyüce 2014-01-23T14:55:00-05:00 >2014-01-27T19:43:01-05:00 <img src="http://cdn.archinect.net/images/514x/0z/0z2d5s40gaeuu01v.jpg" width="514" height="218" border="0" title="" alt="" /><p>Istanbul is still a very pretty city but that is not all. It is also a city in transformation under the impacts of neo-liberalism via the global age of unjust changes. Ekumonopolis looks at these conditions site specifically in Istanbul, called by <a href="http://archinect.com/features/article/66096130/archinect-interviews-george-brugmans-iabr-part-2-arnavutk-y-istanbul" rel="nofollow" target="_blank">George Brugmans</a> as one of the oldest and, in the same time, the newest cities in Europe.</p><p>Please click the cc button on the bottom of the screen for the English subtitles.</p> http://archinect.com/news/article/91321104/analyzing-the-tensions-of-transnational-negotiations-through-kinetic-cartography Analyzing the tensions of transnational negotiations through kinetic cartography Justine Testado 2014-01-17T20:23:00-05:00 >2014-01-20T18:03:18-05:00 <img src="http://cdn.archinect.net/images/514x/f9/f9mnq8j4wfwjklmt.jpg" width="514" height="342" border="0" title="" alt="" /><p> <em>Negotiated edges &ndash; one world, different systems</em> is a kinetic cartography "world machine" currently featured at the <a href="http://uabb.hk/" rel="nofollow" target="_blank">2013-14 Bi-City Biennale of Urbanism/Architecture</a> in Hong Kong. Created by multidisciplinary design team Chiu Ning, Yuet Chan, Lau Wai Kin, and Andrew Ng, the piece is relevant to the Biennale's overall discussion of boundaries in various architectural and urban contexts ranging from an individual to a global perspective.<br><br> If you're based in Hong Kong, you can check out <em>Negotiated edges</em> at the Biennale until Feb. 23, 2014. You can also watch the video below to see it in action.<br><br> Here's more info on the project:<br><br><img alt="" src="http://cdn.archinect.net/images/514x/2i/2in5yng47gbkn5fo.jpg" title=""><br><br> "'Negotiated edges &ndash; one world, different systems' owes its inception to an architectural thesis on boundaries as strategic exploitation of resources through transnational linkages against the backdrop of globalization. The team further developed the concept by looking beyond restrictive binaries to the multiplicity of sites and context.</p> <p> Negotiated edges, be...</p> http://archinect.com/news/article/86067567/rem-koolhaas-ai-weiwei-superflex-and-others-take-part-in-gwangju-folly-project Rem Koolhaas, Ai Weiwei, Superflex and others take part in Gwangju Folly Project Amelia Taylor-Hochberg 2013-11-08T15:09:00-05:00 >2013-12-27T13:25:19-05:00 <img src="http://cdn.archinect.net/images/514x/c4/c46hqurusry6n75v.jpg" width="514" height="740" border="0" title="" alt="" /><p> Architectural follies impose on our assumptions of what architecture is and what it should be -- what is function, what is beauty, where do private and public space meet.&nbsp;<a href="http://www.gwangjubiennale.org/eng/folly/intro/" rel="nofollow" target="_blank">Gwangju Folly II</a>, part of the <a href="http://www.gwangjubiennale.org/eng/intro/greeting/" rel="nofollow" target="_blank">Gwangju Biennale Foundation</a>, highlights the politicization of public space through multiple folly-interventions in Gwangju. The project includes follies by Ai Weiwei, Rem Koolhaas and Ingo Niermann, Superflex, Raqs Media Collective, David Adjaye and Taiye Selasi, among others, this November 10-11.</p> <p> Artistic Director Nikolaus Hirsch, with curators Philipp Misselwitz and Eui Young Chun, focus the follies on the contentiousness of public space, and its operation on the global scale. Positioned throughout the city, some follies are mobile (Ai Weiwei's "Cubic-meter Food Cart", a rumination on South Korea's <em>pojangmachas</em>) while others highly site-specific (Rem Koolhaas and Ingo Niermann's "The Vote" is installed in a high-traffic commercial area).</p> <p> As the setting for <a href="http://en.wikipedia.org/wiki/Gwangju_massacre" rel="nofollow" target="_blank">Gwangju&rsquo;s Democratic ...</a></p> http://archinect.com/news/article/70085698/editor-s-picks-308 Editor's Picks #308 Nam Henderson 2013-03-26T16:23:00-04:00 >2013-03-27T14:50:28-04:00 <img src="http://cdn.archinect.net/images/514x/t5/t5xthip40fqc7qz6.jpg" width="514" height="446" border="0" title="" alt="" /><em><p>Archinect published work from Beyond Prototype, an advanced digital fabrication seminar developed at Columbia University...Nicholas Cecchi was impressed but also offered some criticism "This is amazing student work...However, I would like architecture schools to stop pushing students to contextualize this kind of research-based exploration. Showing these as enclosures (or the one as a gondola) only undermines the amazing generative capacity of this kind of design"</p></em><br /><br /><p> For the latest edition of the Student Works feature, Archinect published work from <a href="http://archinect.com/features/article/65758020/student-works-beyond-prototype" rel="nofollow" target="_blank">Beyond Prototype, an advanced digital fabrication seminar developed at Columbia University Graduate School of Architecture Planning and Preservation by Jason Ivaliotis and Nicholas Kothari</a>. In the course "<em>Students develop parametrically controlled tessellations and transform them into building component systems that can be built using conventional sheet stock materials. These tessellated systems are extracted from the digital realm and built at full scale</em>".</p> <p> <a href="http://archinect.com/people/cover/54894565/nicholas-cecchi" rel="nofollow" target="_blank">Nicholas Cecchi</a> was impressed but also offered some criticism "<em>This is amazing student work. The craft and quality is great, and the theory behind it is impressive. However, I would like architecture schools to stop pushing students to contextualize this kind of research-based exploration. Showing these as enclosures (or the one as a gondola) only undermines the amazing generative capacity of this kind of design. These should not be taken liter...</em></p> http://archinect.com/news/article/51034459/zone-the-spatial-softwares-of-extrastatecraft Zone: The Spatial Softwares of Extrastatecraft Places Journal 2012-06-11T14:22:00-04:00 >2012-06-18T00:32:25-04:00 <img src="http://cdn.archinect.net/images/514x/sa/saa7sd12rrsei7zr.jpg" width="514" height="347" border="0" title="" alt="" /><em><p>In the future the wisest zone entrepreneurs will question this central feature and ask: Why enclave? What types of incentivized urbanism will actually benefit from physically segregated infrastructure&mdash;from being separate and even distant from the dense and dynamic central spaces of existing cities? Given that the zone is now generating its own urban programs &mdash; aspiring to be a city&mdash;what economic and technical benefits can result from constructing what is in effect a double or shadow of the city?</p></em><br /><br /><p> On Places, Keller Easterling traces the global rise of The Zone -- "a.k.a., the Free Trade Zone, Foreign Trade Zone, Special Economic Zone, Export Processing Zone, or any of the dozens of variants." From pirate enclaves to Puerto Rico, from Shenzhen to Dubai, she interrogates the spatial logic of extrastate zones created to avoid national laws.</p> http://archinect.com/news/article/46141317/interview-rem-koolhaas-on-the-invention-and-reinvention-of-the-city INTERVIEW: Rem Koolhaas on the Invention and Reinvention of the City Paul Petrunia 2012-04-24T15:47:00-04:00 >2012-04-27T11:02:17-04:00 <img src="http://cdn.archinect.net/images/514x/nf/nfw0zxrvl5937h08.jpg" width="514" height="343" border="0" title="" alt="" /><em><p>Things are changing enormously in almost every sense. The effects of globalization have been positive and negative. My generation of architects is the first that could work almost anywhere in the world. We had the option to repeat the same building everywhere or to push ourselves forward, to create an encounter between ourselves and the local culture.</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd"> <html><head><meta></head></html>