From floating pitches to the importance of stadiums to their cities, as fans around the world prepare for kick-off in Russia, we take a broader look at the role that football can play in bringing people together.
Source by Monocle 24: The Urbanist
Following the news that Montreal’s Olympic Stadium is to be transformed into a welcome centre for asylum seekers, our Toronto bureau chief Tomos Lewis tells the story of one of the city’s most famed structures.
Source by Monocle 24: The Urbanist
This week we don our sporting colours to mull over the role of stadiums in our cities and think about the role of colour in sport. Plus, a tour of a modernist complex in Belo Horizonte by the late Oscar Niemeyer.
Source by Monocle 24: Monocle on Design
It’s one of the most storied sporting arenas in Uruguay and one of the most fabled football stadiums in the world. We head to Montevideo to explore the 1930s art deco gem Estadio Centenario.
Source by Monocle 24: The Urbanist
Cruz y Ortiz Arquitectos was founded in 1974 by Antonio Cruz and Antonio Ortiz. Recent significant projects include the football stadium for Atlético de Madrid, completed in 2017, the remodeling and expansion of the Rijksmuseum in Amsterdam, the University Campus and the Faculty of Medicine of the University of Granada and the Councils Building of the Junta de Andalucía.
Cruz y Ortiz Arquitectos has won more than 30 national and international competitions. Their work has been widely published in journals and monographs and exhibitions have been held about his work in Europe and the United States. It has been distinguished with numerous national prizes among which the "National Award for Sports Architecture" stands out in 1998 for the La Cartuja stadium in Seville and the 1992 National Architecture Prize for the Central Railway Station in Seville. Cruz y Ortiz Arquitectos has been selected to represent Spain at the Venice Architecture Biennial (2014). In May 2014 they were awarded the distinction of Knight of the Royal Order of the Dutch Lion. Antonio Cruz and Antonio Ortiz recently received the 2014 Honor Award from The American Institute of Architects (AIA), the Spanish International Architecture Award CSCAE, the Abbe Bonema Award and the European Aadipa Prize for "intervention in the Architectural Heritage for the work The New Rijksmuseum, Amsterdam.
About the Paul S. Byard Memorial Lecture
The Paul S. Byard Memorial Lecture celebrates the legacy of Paul S. Byard, Director of Historic Preservation at Columbia GSAPP from 2000-2008.
"Every act of preservation is inescapably an act of renewal by the light of a later time, a set of decisions both about what we think something was and about what we want it to be and to say about ourselves today." The Architecture of Additions: Design and Regulation
Paul Byard began his career as a lawyer at Winthrop & Stimson, and worked for the New York State Urban Development Corporation to develop public housing. In 1977, Byard received his Master of Architecture at Columbia University, Graduate School of Architecture, Planning and Preservation. During his graduate studies, Byard supported the legal defense of the New York City Landmarks Preservation Law. The work culminated in 1978 when the US Supreme Court decision in the Penn Central Transportation Co. vs. The City of New York upheld the constitutionality of historic preservation laws. From 1968 to 1989, while serving on the board of the Municipal Art Society, Byard was the primary author of briefs amicus curiae that helped facilitate the security of the New York Landmarks Law during the Supreme Court Case that saved Grand Central Station.
Paul Byard joined the James Stewart Polshek & Partners architecture firm, and was made a partner in 1981. In 1989, Byard joined Charles A. Platt Partners (later known as Platt Byard Dovell White). He brought his legal experience to Columbia’s Historic Preservation Program by teaching a Preservation Law class. His book, The Architecture of Additions: Design and Regulation, was published in 1998, as a critical review of architectural additions as a creative paradigm, and more specifically, “what ought to happen when architecture is added to distinguished buildings protected by law”. In 2000, Paul Byard was appointed Director of the Historic Preservation Program at Columbia, where he served until his death in 2008.
Organized by Columbia GSAPP Historic Preservation Program. Free and open to the public.
Recorded October 27, 1997
On the occasion of the publication of his monograph Renzo Piano: Logbook, the architect was invited to speak as part of the 1997-98 Current Work lecture series. The lecture is available here in its entirety. Explaining a growing interest in educational work, Piano began by describing his recent visit to the Ise Grand Shrine in Japan — a temple that is rebuilt every twenty years. Piano noted that during the festival, participants twenty to forty years old who are attending for the first time learn to build the shrine; those forty to sixty actually construct the building; and those sixty to eighty teach the younger cohort. In this educational spirit Piano began his lecture and stressed the importance of explaining “the pleasure of invention” to younger generations. Presentations of public, large scale, built work followed, such as the Workshop’s Kansai Airport, the San Nicola Football Stadium, and Amsterdam’s National Center for Science and Technology, among others. Piano also highlighted important projects for the arts including the Menil Collection and Cy Twombly Pavilion, both in Houston.
At the conclusion of his lecture, Piano warned against the “temptation to seperate technology and art” and against those who desire to “solve” the relationship between tradition and modernity, allowing one to subsume the other. Remembering words of Jorge Luis Borges, Piano asserted that “making art is like being suspended between remembering things and forgetting them.” The forgetting produces the “black holes to be filled with invention,” but always within the fabric of memory.
The Architectural League’s Current Work series presents the work of significant international figures, who powerfully influence contemporary architectural practice and shape the future of the built environment.
Wes Jones begins his introduction with a comparison of invisible histories and visible histories, citing Michel Foucault’s “Other Spaces.” Jones outlines the research pursuits of Eric Avila, which encompass topics including cultural history, race and ethnicity, Chicano studies and the history of post-war urban and suburban development in Los Angeles.
Eric Avila reviews the development of downtown Los Angeles. He documents the reallocations of resource and capital in the early twentieth century, and the effects of these changes on the city. Avila explains the social and economic implications of the building of Los Angeles’ first City Hall. He discusses the effects of the Great Depression and the Second World War on the growth of the city, noting accelerated suburban decentralization.
Avila discusses the spatial context of film noir and its relationship to Los Angeles. Next, Avila reviews the construction of Dodger Stadium and it’s destruction of the surrounding urban context of Chavez Ravine. Avila critiques Mike Davis and Reyner Banham, especially their predictions of how Los Angeles will develop in the future. Avila expresses regret for the erasure of Los Angeles’ noir past, citing the recent re-development of downtown.
Luyanda Mpahlwa begins by describing how in 1978 he was part of the first group of Black students permitted to study architecture in South Africa. His education was interrupted by five years at Robben Island Maximum Security Prison, after which he completed his education at the Berlin Technical University. He notes how working in Berlin during the reconstruction period immediately following German reunification was a good preparation for post-apartheid South Africa after 1994. Mpahlwa describes his work as project architect for the Felleshus campus of five Nordic embassies in Berlin, and as designer of the new South African embassy in Berlin. He reviews his work in Cape Town since 1994, including an extension to Parliament, and the international airport, a luxury home, and participation in the committee overseeing the construction of ten new stadiums to accommodate South Africa hosting the 2010 World Cup. Mpahlwa describes conditions in the townships, where the Black population struggles without services and facilities much of the world takes for granted.
He describes a number of his architectural interventions, including a school, a youth center, low-cost housing using sandbags in the Mitchells Plein area of Cape Town, the Nike Football Training Facility in Soweto, and his proposal for a Design District Incubator for the Fringe district of Cape Town–an area which had been an urban Black community until being cleared by apartheid. Mpahlwa responds to questions about the usefulness of the World Cup stadiums after the games, working in difficult environments with very limited resources, and the value of architects intervening creatively in townships.
The video begins with the last twenty minutes of a lecture by Minoru Takeyama about his influences and work. This event did not take place at SCI-Arc.
The video continues (at 21:45) with a lecture at SCI-Arc by Daniel Dworsky on masonry, illustrated with his buildings including CBS Studio Center (1971), Crisler Arena, University of Michigan (1967), Drake Stadium, UCLA (1969), and the Theater Arts Building, California State University Dominguez Hills.