The artist also explained why he needs three museums for his 48-year retrospective. "It's only 23 works," he said, quicly [sic] adding that these are "works that luxuriate in space, and it takes a lot of space to do that." — phaidon.com
When Charles Correa was recently in London for the opening of his RIBA exhibition, Rob Wilson spoke with him about some of the key ideas, influences and recurrent themes in his work throughout his long career. — uncubemagazine.com
Can we start by exploring your process of developing an initial idea for a project? You all have very different backgrounds, specialising in metalwork, industrial design and architecture. How do these backgrounds integrate? Can this culmination of different abilities become challenging?
It is extremely challenging integrating our different perspectives – based on our specialties, you can encounter all phases and scales of project development simultaneously — Modern Matter
Anouska Hempel is a London-based hotelier and interior designer. Recently, Archinect correspondent, Jill Johnson, had the opportunity to stay at one of Anouska's recent projects, La Suite West, a boutique hotel in London, and followed up her stay with a brief conversation about the design. Can...
In contrast to postmodernism – to Krier but also to Tschumi and Koolhaas, who tended more toward approaching architecture through the political issues of that time – we started solely from architectural issues. We also wrote our first book about that, about how architecture itself can again be a source of fascination. — uncubemagazine.com
One of the real challenges, since we’re working in so many places—Mexico, Japan, Brazil—is understanding variations, both in terms of culture and context. It’s important to understand differences in scale and environment. — Architectural Digest
Philip Michael Wolfson is an architect from Philadelphia. He was Zaha Hadid's head of design for ten years and now runs his own studio where he works on sculptural pieces and interior architecture. In this episode of Art Talk, we visit Philip in his London studio and he discusses his creative process and shows us a recent piece called "Tsukumogami." — vice.com
Nestled in the flatlands of rural Bangladesh near the River Brahma-Jamuna, coursing down from Tibet, flush with the silts and melted snows of the Himalayas, the Friendship Centre is one of those new buildings which feels as though it may have been there for a very long time. Whilst the simple, graphic forms of its brick construction present a slightly archaic aspect, its enclosure by a bund or embankment lends the whole site an inward-looking inverted feel, almost like an excavation. T — uncubemagazine.com
Today we chat with a man on a mission, Stan Munro, creator of the astounding and ever-growing Toothpick World. Stan is out to re-create the world’s most famous buildings — using nothing but toothpicks and glue. — blog.makezine.com
Urbanism is one of those malleable concepts that defy definition. A flexible subject where, by trying to lock it within a specific scope, its validity sometimes gets undermined and its potential spoiled. But when a magazine develops and maintains its own way to portray the multiple faces, forms...
If “action painting” is produced by the dynamics of dripping, smearing, and sweeping brushstrokes of paint to reveal the complex character of abstract art, then “action drawing” would be something like juxtaposing lines, planes, volumes, typographical elements...
I met this gray-haired woman. I lit her cigarette and she asked me what I was doing there? I said I just wanted to meet some architects and learn where I could go to school.
"She said, okay, 'If you have a car, tomorrow go to this place in Santa Monica called SciArc, it's a new school. Ask for Ray Kappe and tell them that Esther McCoy sent you.' — kcet.org
MovingCities interviews Dutch architect John van de Water – NEXT ARCHITECTS China – about his book “You can’t change China, China changes you” [010 publisher, 2012]. The book is a a formidable page-turner telling the story of a three-year long architectural discovery...
Your message is really a philosophical message to architects. You’re trying to show us how we can build cities and break out of the old modes of urban planning and urban design.
And even thinking about or imagining cities that we have had for the past few hundred years, you’re offering a new way. I don’t know anyone else that’s done that today. Maybe someone will say Colin Rowe. OK—Collage City, but this goes far, far beyond Collage City and any urban theory of Corbusier or anyone else. — lebbeuswoods.wordpress.com
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