Described in a press release as a "spacious and distinctively contemporary gateway to the institution's existing complex of buildings," the new Pierre Lassonde Pavilion of the Musee National des Beaux Arts du Quebec by OMA appears to have an exceedingly functional quality. Admittedly, the building...
Although the renderings and Twitter pics of Diller Scofidio +Renfro's Berkeley Art Museum and Pacific Film Archive produced a heated response on Archinect, evaluating the museum from a programmatic standpoint makes it appear as less of a "giant TV on the sidewalk" and more a clever fusion of needs...
“There was an intense flowering of experimental and futuristic architecture in the 1960s and 70s, which the young African countries used to express their national identities,” says [Swiss architect Manuel] Herz, who has curated an exhibition of more than 80 buildings from sub-Saharan Africa, showing at the Vitra Design Museum in Weil am Rhein, Germany, until May. “But we simply don’t know about it... we wanted to show this incredible cultural wealth that also exists.” — The Guardian
The clinics here are simple, even handsome. Instead of constructing hermetic shields in the form of airtight, inflexible hospital buildings, the architects took advantage of Haiti’s Caribbean environment, exploiting island cross breezes to heal patients and aid caregivers.
It’s not clear yet how well the clinics will work. [...] If they turn out right, they could serve as relatively light-footed models for other struggling countries that lack resources for high-end Western-style hospitals. — nytimes.com
Thirty years ago, the Italian photographer Luigi Ghirri complained that pictures of well-known buildings were often as conventional and flat as mediocre still-life paintings "but executed out of doors." [...]
The new architectural photography exhibition at the Barbican, "Constructing Worlds," sets out, as Ghirri himself did in shooting buildings by the architect Aldo Rossi, to explore another approach [...]. Something very different, in other words, from "maximum clarity." — latimes.com
Baan, who began shooting buildings in earnest less than a decade ago, balances politeness with relentlessness—qualities that help explain his rapid rise in the architecture world. So compelling is his work, which depicts the world's buildings being used, misused or even abused, that top-tier architects like Herzog & de Meuron, Rem Koolhaas and Zaha Hadid dispatch him to photograph all of their new projects, requiring him to fly hundreds of thousands of miles a year. — online.wsj.com
Over two dozen students crammed into the newly opened photo studio in the basement of Gund Hall on Wednesday for a hands-on workshop with one of the world’s premier architectural photographers. Iwan Baan, who has documented some of the most famous buildings of our time, kicked off the GSD’s spring lecture program the night before with a discussion of his recent work documenting informal settlements. — gsd.harvard.edu
One of the most widely published photographers of contemporary architecture, Iwan Baan is noted for his documentary images that narrate the life and interactions occurring within architecture. His approachable photos focused on the portrayal of people in the sociocultural context of architecture intrigue such clients as Rem Koolhaas, Toyo Ito and Zaha Hadid, but also The New York Times, Domus or Abitare. — youtube.com
Photographer Iwan Baan shows how people build homes in unlikely places, touring us through the family apartments of Torre David, a city on the water in Nigeria, and an underground village in China. Glorious images celebrate humanity's ability to survive and make a home -- anywhere. — youtube.com
Answer: Baku, Azerbaijan, where the government is spending an estimated $6 billion a year on architecture projects. As we wrote in February, Azerbaijan’s leaders want to make their capital city a destination for the rich and fabulous. The latest example: the Heydar Aliyev Center designed by Zaha Hadid, for whom it offered the rare opportunity of nearly total design freedom. Every roof and ceiling panel is different, Hadid says. — nytimes.com
Occupying some 350 square-metres of lawn in front of the Serpentine Gallery, Sou Fujimoto's delicate, latticed structure of 20mm steel poles will have a lightweight and semi-transparent appearance that will allow it to blend, cloud-like, into the landscape and against the classical backdrop of the Gallery's colonnaded East wing. Designed as a flexible, multi-purpose social space - with a café sited inside - visitors will be encouraged to enter and interact with the Pavilion... — serpentinegallery.org
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