Posts Tagged ‘Deutsches Architekturmuseum’

Architecture | Sky-High with Street Credibilty

Thursday, November 1st, 2018

MahaNakhon,
Bangkok, Thailand,
Büro Ole Scheeren +
OMA

Photo Hufton + Crow



Best Highrises 2018/19
The International
Highrise Award 2018

Deutsches
Architekturmuseum
Frankfurt | Germany
3 November 2018 >
3 March 2019



Beirut Terraces,
Beirut, Lebanon,
Herzog & de Meuron
Photo Iwan Baan



Aside from the obvious symbolism of its subject matter, this is a very sexy competition. A fact that was, presumably, not lost on The City of Frankfurt which initiated it in 2003. The International Highrise Award, now considered the world’s most important architecture prize for high-rises, was guaranteed to establish Frankfurt as a centre for architectural innovation and to draw global attention to the city, which continues to host the event.

Oasia Hotel
Downtown, Singapore,

WOHA
Photo K Kopter



But why Frankfurt? Due to the historical value of their existing buildings many other European cities, have rejected skyscraper construction. Frankfurt’s inner city area, however, was destroyed by Allied bombing during World War II and only a small number of its landmarks were rebuilt, which left ample room for modern high-rises that would stand as monuments to reconstruction. Outside Germany, Frankfurt is simply called Frankfurt; in German-speaking countries the city is given its full name Frankfurt am Mein (Frankfurt on the Mein river), and sometimes referred to as ‘Mainhattan’ – a reference to its impressive high rises and skyscrapers that began to appear in the 1960s and where architect Coop Himmelblau’s European Central Bank (2015) is situated. The intervening years saw hundreds of high-rises erected in the city, however, the Commerzbank Tower, at 259 metres, built in 1997, is destined for the moment at least to remain the tallest.


2 views of

Torre Reforma,
Mexico City, Mexico,
L Benjamín
Romano

Winner of The International
Highrise Award 2018

Photo (top) Iwan Baan.
Photo (above)
Alfonso Merchand



Although extremely high, landmark buildings continue to go up around the world, especially in China, which now has 30 of the world’s tallest, the criteria on which their design is based has somewhat altered. Hybrid usage is on the rise, while single-use buildings are becoming rare. One trend emerging in Southeast Asia and China involves grouping individual structures together in ensembles, which is creating developments that define their surrounding areas and even whole districts. While extraordinary aesthetics and trailblazing design have not lost their attraction, this year’s IHA competition has placed greater emphasis on functionality, innovative building technology, sustainability, cost-effectiveness and how high-rises contribute to the urban fabric and encourage street-life.

Chaoyang Park
Plaza, Beijing, China,
MAD Architects

Photo Hufton + Crow



Organised jointly with the Deutsches Architekturmuseum and DekaBank, both also based in Frankfurt, aimed at architects and developers whose buildings are at least 100 metres high, the biennial competition is judged by a panel of prominent architects, structural engineers, real-estate experts and architecture critics from across the globe.

Best Highrises 2018/19 at (DAM) Deutsches Architekturmuseum, focuses on the main prize-winner and five finalists, (all shown here), but presents all 36 nominated structures.

All images courtesy DAM


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The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being made available to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier

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Architecture | Brutalism Bites Back

Friday, November 3rd, 2017

Plumbers and Gasfitters
Employees’ Union Building,
Melbourne, Australia, 1968 > 1971.
Architect Graeme Gunn
Photo Graeme Gunn c 1971



SOS Brutalism
Save the Concrete Monsters!
Deutsches Architekturmuseum (DAM)
Frankfurt am Main | Germany
9 November 2017 > 2 April 2018



Birmingham City Library,
Birmingham, UK, 1969 > 1973,
demolished 2016.
Architect John Madin
Photo Jason Hood 2016



Brutalism has been given a hard time. Over the past thirty years or so many brutalist buildings across the globe have been destroyed. Many more are now at risk. Some of those bent on their demolition see themselves as avenging angels, ridding the world of ugly, unloved monsters that should never have been erected and which the world would be better off without. Often brutalist buildings were commissioned from noteworthy architects by big companies, cities or governments as symbols of success and of civic and national pride; they were constructed on prime sites, the current real estate values of which give pause for thought.

While no-one, in Britain at least, has gone so far as to prostrate themselves before the bulldozers, flying in the face of the destroyers’ views brutalism has reached cult status on Facebook and Instagram. On the British Brutalism Appreciation Society, Facebook page, one of its many members, Rhys Edmonds, a student at The London School of Economics and Political Science (LSE), expresses his excitement at having the Grade II listed One Kemble Street, built between 1964 and 1968 by Richard Seifert’s architectural company ‘right next to my Uni campus!’

Though it must be said that many were thrown up quickly and have little architectural merit, even some of the more functional buildings were executed with great care. In August this year, Westminster Council approved the demolition of the striking, brutalist Welbeck Street car park – just off Oxford Street  – designed by Michael Blampied and Partners in 1971. ‘While the car park on Welbeck Street stands out nationally as an exemplar of 1960s car parks, it does not meet the very high bar for listing buildings of this date,’ a spokesperson for Historic England said. The planners’ excuse is that removing the building is in line with the move away from the use of cars in central London.

Sainte-Bernadette du
Banlay,
Nevers, France,
1963 > 1966.
Architects Claude Parent
& Paul Virilio

Photo Bruno Bellec 2008



Sacré-Cœur Cathedral,
Algiers, Algeria, 1955 > 1963.
Architects Paul Herbé
& Jean Le Couteur

Photo Cyril Preiss 2005



Holy Trinity Church,
Vienna, Austria, 1971 > 1976.
Architect Fritz Wotruba
Photo Wolfgang Leeb 2011



Meanwhile, the Centre for Visual Arts and Culture held the day event Caring for Brutalism in Durham last month in response to the Secretary of State’s renewed decision not to list the city’s angular, concrete students’ union building. Designed by Architects Co-Partnership, Dunelm House was completed in 1966 under the supervision of internationally renowned engineer Sir Ove Arup – his remarkable oeuvre was celebrated in a major retrospective exhibition at the Victoria & Albert Museum in 2016 – whose adjacent Kingsgate Bridge opened two years earlier. Sir Nikolaus Pevsner, the noted architecture historian, considered the building, ‘Brutalist by tradition but not brutal to the landscape…the elements, though bold, [are] sensitively composed.’

It’s interesting to note that the term brutalism does not originate from the English word ‘brutal’, but rather from ‘béton brut’ – the French term for exposed concrete. However, it was coined in the 1950s by a young generation of architects in Britain who used the expression ‘New Brutalism’ to distance their work from the dreariness of post-war architecture. Architecture critic Reyner Banham described the Hunstanton School by Alison and Peter Smithson (and their unrealised Soho House) as ‘points of architectural reference by which the New Brutalism in architecture may be defined’.

Rozzol Melara, Trieste,
Italy, 1969 > 1982.
Architects IACP
(Carlo Celli & Luciano Celli)

Photo Paolo Mazzo 2010



La Pyramide, Abidjan,
Ivory Coast, 1968 > 1973.
Architect Rinaldo Olivieri



Brutalist architecture celebrates rawness and bare construction, qualities that lend themselves well to photography. #SOSBrutalism is a growing database and interactive site that currently contains images of over 1000 brutalist buildings from all over the world. The passionate conservation group behind it, in whose view brutalist buildings are not always made of concrete, ‘but are all ‘rhetorical’ in that they blatantly place the focus on their material or sculptural form’, have joined forces with the internationally esteemed Deutsches Architekturmuseum (DAM) to present the eponymously-titled SOS Brutalism exhibition. To coincide with the show, this month Park Books publishes SOS Brutalism – A Global Survey, the first ever worldwide survey of brutalist architecture from the 1950s to the 1970s.

All images courtesy the Deutsches Architekturmuseum (DAM)


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The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being made available to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier


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Exhibitions | Visions of Architectopia

Friday, July 22nd, 2016

Archigram (Ron Herron),
Instant City – Local parts, 1970
© Deutsches Architekturmuseum




Constant – New Babylon
Gemeentemuseum den Haag
The Hague | The Netherlands
> 25 September 2016

+

Superstudio 50
MAXXI Museum
Rome | Italy
> 4 September 2016

+

Yesterday’s Future
Visionary designs by Future Systems and Archigram
Deutsches Architekturmuseum / DAM
Frankfurt am Main | Germany
> 18 September 2016

+

Frederick Kiesler. Life Visions
Museum für angewandte Kunst / MAK
Vienna | Austria
> 2 October 2016




Frederick Kiesler,
View of the Raumstadt (City in Space), 1925,
Exposition internationale des Arts
décoratifs et industriels modernes, Paris, 1925
© 2016 Austrian Frederick and
Lillian Kiesler Private Foundation, Vienna



Unconsciously coordinated and complementary, a cluster of exhibitions this summer in The Netherlands, Italy, and Austria, celebrates the utopian visions of Constant, Friedrich Kiesler, Superstudio, Future Systems and Archigram, respectively. Once considered outlandish, even silly, the avant garde experiments of these early and late twentieth century architect pioneers is exerting a strong influence on mainstream contemporary architecture and city planning.

Artist, designer, architect, set and exhibition designer with revolutionary, utopian concepts, Frederick Kiesler (1890>1965) was born in a remote corner of the then Austro-Hungarian Empire, (now Ukraine), and studied architecture and painting in Vienna, where, amongst luminaries that included Otto Wagner, Josef Hoffmann, and Adolf Loos, he would become obsessed with the idea of the Gesamtkunstwerk. Developing out of his experimental theatre ideas that dissolved the separation between spectators and actors and integrated both in a unified space, in his Raumstadt (City in Space) (1925) Kiesler proposed a model for the city of the future. Having drafted his Manifeste du Corréalisme during a trip to Paris, at the invitation of Marcel Duchamp and Andre Bréton, he wrote that the elements of construction – whether for a city, a chair, or a house – should be a ‘nucleus of possibilities’ developed and transformed in relation to its environment. In 1926, he relocated to New York, where he would eventually install a model of his Endless House at New York’s Museum of Modern Art 1960 show, Visionary Architecture. Meanwhile, Frederick Kiesler. Life Visions at Vienna’s Museum für angewandte Kunst / MAK, is a portal into Kiesler’s complex world and thought processes.

Future Systems (Jan Kaplický + Amanda Levete),
Manhattan with ‘Coexistence (Project 112)’
Bibliothèque Nationale de France, 1989
© Kaplicky Centre, Prague



With 44 exhibits from each group, Yesterday’s Future: Visionary designs by Future Systems and Archigram at the Deutsches Architekturmuseum / DAM focuses on detailed technical drawings, brightly coloured collages and original models. The works by Czech architect and founder of Future Systems, Jan Kaplický, who emigrated to London in 1968, date from the 1980s and 1990s and are juxtaposed against designs created 20 years before by the Archigram architectural group that comprised Peter Cook, Ron Herron, and Dennis Crompton. The space architecture by Archigram was created around the time of the Moon landing in an era shaped by new beginnings. In contrast, Future Systems designed its self-sufficient, machine-like living capsules for a gloomy world at the height of the Cold War. Whereas Archigram conceived organic architecture that ensured survival in inhospitable environments, Future Systems technologically sophisticated designs were located in more accessible natural surroundings or in concentrated, built-up cities. Intended as suggestions for living, working and for survival at times of social upheaval, the majority of the utopian designs by both groups never left the drawing board.

Installation at the exhibition
Adolfo Natalini Superarchitettura,
Galleria Jolly 2, Pistoia 1966
Photo C Toraldo di Francia
Superstudio 50, MAXXI Museum



Founded in 1966 by Adolfo Natalini and Cristiano Toraldo di Francia, who were later joined by four others, Superstudio was one of the most influential groups in radical twentieth century Italian architecture. Superstudio 50 at Rome’s MAXXI Museum presents 200 items, ranging from installations to objects, from graphic works to photographs, with publications covering the entire career and development of the group. The exhibition includes the most important drawings, photomontages and installations from The Continuous Monument series (1969), the Architectural Histograms (1969-70) and The Twelve Ideal Cities (1971), projects through which the Superstudio attempted to demonstrate the possibilities and the limits of architecture, and were intended as a critique of contemporary society.

Constant Nieuwenhuys,
Klein Labyr, maquette, 1959
New Babylon, Gemeentemuseum Den Haag



Constant Nieuwenhuys (1920 > 2005), a leading member of the CoBrA group, expressed his ideas for a new world in New Babylon (1974), one of the largest and most visionary projects in post-war architectural history. The vast majority of the works associated with it are in the Gemeentemuseum Den Haag collection, but have never before been displayed in all their diversity. Constant – New Babylon at Gemeentemuseum den Haag, including extensive documentation and reconstructions, is one of the largest exhibitions ever presented on this key work.

All images courtesy the respective exhibition venues


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The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier


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Architecture | An Exercise in Creative Play

Friday, January 23rd, 2015
Bike race in an open, covered space at the Arnulfpark
Primary school, Munich, Germany, by Hess Talhof Kusmierz
Photo ©www.pk-odessa.com/Lanz/Schels



DAM Award for Architecture in Germany 2014
Deutsches Architekturmuseum
Frankfurt | Germany
Exhibition 31st January > 12th April 2015



Playful cutout shapes cast into a concrete structural wall
Photo © Florian Holzherr



On Friday 30th January, against formidable competition – prestigious projects, such as designs for a new bridge in Frankfurt, a new town centre, the Institute of Aerospace Medicine at the German Aerospace Centre in Cologne, the Museum of Architectural Drawing in Berlin, and the Faculty of Law at Baltimore University – the DAM prize for Architecture, 2014, will be awarded to young architects Hess Talhof Kusmierz for their Grundschule am Arnulfpark / Arnulfpark Primary School in Munich, where their practice is based.

HTK’s project was unanimously judged to be the best of the 24 shortlisted examples from 100 nominees, of new architecture in Germany or buildings by German architects abroad. It will be the focus of The DAM Award for Architecture in Germany 2014 exhibition at the Deutsches Architekturmuseum in Frankfurt, and of The DAM Annual 2014/15 published by Prestel, both of which will feature all of the selected designs. The jury was made up of curators, architects and architectural critics, chaired by last year’s winner Jórunn Ragnarsdóttir of Lederer Ragnarsdóttir Oei (Stuttgart), who said: ‘It is a privilege to be able to build something for children. Only when an educational concept is translated into inspiring architecture does a ‘school building culture’ come into being. The Arnulfpark Primary School shows us how strong urban design, a clear building outline and a beautiful formal language can produce a unique location with high recognition value.’
External staircase with intimate children’s seating area below
Photo: © Florian Holzherr


The HTK practice was founded in 2004, building two schools and a recycling centre, both incorporating bright colour and advanced spatial organisational concepts borrowed from Switzerland, before winning the Arnulf Primary School contract in 2008. Within the context of Munich’s Zentrale Bahnfläche / Central Railway Facilities urban development area, with its many examples of faceless property development architecture, the two-storey primary school shapes the location’s sense of identity. The robust and heart-warming concept of the new school incorporating small units as well as open spaces – inside and out – is designed with an emphasis on warmth and security and shows how exposed concrete, combined with natural wood and fresh colour can create a positive, aesthetically-pleasing environment for early learning.

Images courtesy Deutsches Architekturmuseum



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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier




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