The Tohoku earthquake and tsunami shattered coastal cities in Japan in 2011. Kengo Kuma, taking as a point of departure his experiences in the aftermath of that natural disaster, will examine humans’ relationship with nature, questioning the perceived strength of steel and concrete and proposing the reintroduction of wood in design as a fair and practical mediator between humans and nature.
Born in Tokyo, Kuma completed his master’s degree at the University of Tokyo in 1979 and spent time as a visiting scholar at Columbia University before establishing Kengo Kuma & Associates in 1990. Among his many works, recent projects include the Yusuhara Wooden Bridge Museum (2010), which won the 2011 The Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize; the Asakusa Culture and Tourism Center (2012), Nagaoka City Hall Aore (2012), and Ginza Kabukiza (2013). Two of his buildings outside Japan are the Besancon Arts and Culture Center and FRAC Marseilles and Aix-en-Provence Conservatory of Music (both 2013). The firm currently has some one hundred projects ongoing in Europe, the U.S., Japan, China, and elsewhere in Asia. One of the most high-profile of these is the new national stadium for the 2020 Tokyo Olympics.
Since 2009, Kuma has been a professor at the Graduate School of Architecture, University of Tokyo. He has also written more than a dozen books—including Anti-Object (2013)—which have been published not only in Japanese but frequently in English, Chinese, and Korean, earning him a readership in many parts of the world. Kuma is an International Fellow of the Royal Institute of British Architects, an honorary fellow of the American Institute of Architects, and, as of 2009, an Officier de L’Ordre des Arts et des Lettres in France.
24 April 2018
Since the beginning and throughout twenty years, my architecture studio has been a space for reflection and action that’s born from a “tireless hope” of a better future. This lecture is going to focus on reinforced concrete as one of the experimental fields that I’ve worked on. This research work started in 1996 with the restoration of Manantiales, the most symbolic work of Félix Candela and goes from the design of the structure as a key factor in the formalisation of the architecture, passing through the possibilities of the industry to the actual concern about the environment and sustainability. To reduce the consumption of material and energy is not just an economic advantage but an ethic need.
Elisa Valero is a Full Professor of Architectural Projects at the University of Granada. She is author of the book Light in Architecture, the Intangible Material. RIBA. London 2015, and Director of The Research Group: Urban Recycling, Efficient Housing RNM 90. She received a special mention in the ARCVISION Prizeand was a finalist in the XI Biennale of Spanish Architecture.
We hone in on a tough topic: concrete – and its changing role in architecture. We ask about its future, tell a few little known stories about its brutalist past and mull over the revival of this most polarising of products.
Source by Monocle 24: Monocle on Design
Concrete: invented in the Roman era but seemingly modern, we talk about concrete with architects, urbanists, psychologists and academics. Does it drive us mad? How does it differ in Japan, Italy or Switzerland? And what are the prospects for a renaissance? Jan 31, 2013
Source by Monocle 24: The Urbanist
Lecture date: 2012-01-30
Architecture and Education Series organised by Mark Cousins
Almost three tons of concrete are produced every year for each man, woman and child on the planet. It is now second only to water in terms of human consumption. Yet how has the astonishing take-up of this new medium within little over a century been accommodated into our mental universe? While it has transformed the lives of many people, in Western countries it has been widely vilified, blamed for making everywhere look the same, and for erasing nature. Architects and engineers, although they have primary responsibility for ‘interpreting’ concrete, are not the only people to employ the medium, and many other occupations – politicians, artists, writers, filmmakers, churchmen – have made use of concrete for purposes of their own. The results are often contentious, and draw attention to some of the contradictions in how we think about our physical surroundings.
Adrian Forty is Professor of Architectural History at the Bartlett School of Architecture, UCL. His book Words and Buildings, a Vocabulary of Modern Architecture (2000) will be reissued by Thames and Hudson in early 2012, and his new book Concrete and Culture is forthcoming from Reaktion in April. Co-authored publications include The Art of Forgetting (1999) and Brazil’s Modern Architecture (2004). He is currently President of the European Architectural History Network.
Panel 1 Participants:
Eric Höweler, moderator
Janet Adams Strong: “Continuity and Change: Fine-face Concrete in Physical Manifestation of I. M. Pei’s Approach to Architecture”
Annette Fierro: “Effective Depths: Transparent Domains”
Brett Schneider: “Early Tall Structures in Context”
Leslie Robertson: “Bank of China, Miho Museum and Bridge, and Other Projects”
A two-part symposium examining the work and life of I. M. Pei from multiple vantage points. Organized by the Harvard GSD with M+, Hong Kong, and the Faculty of Architecture, The University of Hong Kong.
Ieoh Ming Pei is one of the most celebrated yet under-theorized architects of the twentieth and early twenty-first centuries. Although Pei’s six-decade career is mostly identified with his unwavering interest in cultural synthesis and the power of pure geometrical form, his modes of practice demand further investigation of their intertwinement with the multiple historical and discursive moments of modern architecture. The two-day symposium will include panel discussions and scholarly presentations that showcase new research on Pei’s manifold contributions to the built environment. Notable alumni from Pei’s office will discuss the emergence of a new kind of architectural practice in the postwar era. Among the topics to be addressed in the paper sessions are technological innovations with concrete, the glass curtain wall, and structural designs; Pei’s longstanding affinities for China’s landscape and vernacular traditions; his legacy on major urban spaces in Boston and other cities around the world; and the increasingly global and transnational conditions of architectural production that Pei successfully navigated. Organized with M+, the new museum for visual culture being built in Hong Kong, this symposium is part of a yearlong celebration of the 100th birthday of Ieoh Ming (I. M.) Pei MArch ’46. Both I. M. and his wife, Eileen Pei GSD ’44, studied at the Harvard Graduate School of Design, as did their sons Chien Chung (Didi) Pei, AB ’68, MArch ’72, and Li Chung (Sandi) Pei, AB ’72, MArch ’76. Pei was also an assistant professor of architecture at the GSD. In March the GSD held a panel discussion, led by Harry Cobb AB ’47, MArch ’49, which focused on the formative years of I. M. Pei’s career as well as some of his special friendships, influences, and projects.
A second symposium, co-organized by M+ and the Department of Architecture at the University of Hong Kong, will be held in Hong Kong on December 14-15.
These two symposia are made possible with the generous support of the C Foundation.
Lecture date: 2002-03-01
Construction techniques have undergone a fundamental change since the 1970s. Building components are no longer connected monolithically and thick insulation divides walls into a series of layers, resulting in the separation of external and internal elements. This signifies a major shift from the construction methods of classical modernism. Addressing this theme, Swiss architect Peter Mrkli uses the example of a series of small houses in concrete that offer the opportunity to investigate both technical issues and design intentions in an integrated manner, as demonstrated in the use of concrete not only for the external walls of a building - its envelope - but also in its load-bearing structure.
It might be said that the work of Peter Mrkli occupies the space between building and architecture. Greek antiquity, the Romanesque, and the farmhouses of the Po Delta are all, because of their elementary character, sources of inspiration, and, like them, Mrkli's architecture approximates an ideality that it never seeks to achieve.
An in-depth design and construction guide for architectural board formed concrete including detailed specifications for: the concrete mix, form construction, wall ties, wood type, concrete placement and special design considerations.
This is a new technique for 30X40 Design Workshop which we're excited to use on our Squid Cove Project here on the coast of Maine. While it's a common construction detail employed in the Pacific Northwest, here in New England there are relatively few examples or contractors versed in this expressive yet humble material expression.
I created this video to share with you our findings having cast our sample panel and will update the video with a link to the finished product once it's complete.
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Please watch: "Inside My Sketchbook + An Architect's Sketching Tools"
The project team behind the novel building technology «Mesh Mould» received the Swiss Technology Award 2016 in the category «Inventors». The award is Switzerland's most prestigious award for innovation and technology. «Mesh Mould» allows to build load-bearing concrete elements of any shape without formwork.
The animation shows the In situ Fabricator assembling Mesh Mould, a digitally-controlled extrusion process of bespoke „leaking formwork“ elements for non-standard concrete structures that are environmentally sound and structurally lean, and that can be efficiently fabricated directly on the construction site.