Showing posts with label ArchDaily. Show all posts
Showing posts with label ArchDaily. Show all posts

Renzo Piano is not an architect


© Renzo Piano Building Workshop 

Well, according to the UK’s Architects Registration Board (ARB) he isn’t. 

Last week, BDOnline received an email from the ARB asking them to refrain from calling Renzo Piano and Daniel Libeskind an architect, since “they are not registered with the ARB they are not entitled to be described as such”. 

The statement said: “BD referred to two eminent individuals as architects – neither of whom are on the UK register. This is one of a number of peripheral areas, and architects often contact us when they are concerned about the use of the title ‘architect’ in the press although no breach of the legislation in fact occurs.” 

Even though Simon Howard, the board’s Professional Standards Manager, stated that it was “OK to call Piano an Italian architect”, BD’s editor in chief described the request as simply “bonkers”. 

BD has refused to abide and “will continue to refer to Renzo Piano, Daniel Libeskind and Peter Zumthor as architects – registered with ARB or not.” 

We’re curious, what are your thoughts? 

Reference: BDOnline

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ArchDaily

14 Facts You Didn’t Know About Le Corbusier


Le Corbusier by Willy Rizzo. Photos © Willy Rizzo.

Le Corbusier (October 6, 1887 – August 27, 1965) will forever be known as an icon of Modernism, but did you know that the man who changed the face of architecture led quite the colorful personal life?

In honor of his 125th birthday, take a moment to check out some Corbu classics (perhapsConvent of La Tourette, Ronchamp, Villa Savoye, Unite d’Habitation, or Villa Roche) and read on to learn more about the man behind the myth – Charles-Édouard Jeanneret.

Fun Facts About Le Corbusier (including what Salvador Dalí had to say about him. It isn’t pretty) after the break!


Le Corbusier and his cousin, Pierre Jeanneret, relaxing on the Shukna Lake on a pedal boat manufactured by Pierre Jeanneret, c. 1950. Photo by Sureh Sharma.

Things You Didn’t Know About Le Corbusier…
After meeting Josephine Baker on an ocean liner to Europe from South America, Le Corbusier drew nude sketches of the famous actress.
While Le Corbusier married a fashion model by the name of Yvonne Gallis, he maintained a long-term affair with Swedish-American heiress Marguerite Tjader Harris.

Unite d’habitation, 1952. Le Corbusier’s first large-scale housing project. Photo © Guzman Lozano

Le Corbusier and Urban Planning
Le Corbusier’s plans for Ville Contemporaine, a series of sixty-story, cruciform skyscrapers (never built) included plans for rooftop airports so commercial airliners could fly between skyscrapers.
Le Corbusier designed the first planned city in India – Chandigarh. The layout was based on the plans he conceptualized in his book La Ville Radieuse (The Radiant City), which itself was an update on ideas for Ville Contemporaine.
Le Corbusier’s theories as an Urban Planner have been hotly contested, perhaps none more so than by Jane Jacobs: ”Le Corbusier’s Utopia was a condition of what he called maximum liberty, by which he seems to have meant not liberty to do anything much, but liberty from ordinary responsibility.”

Chandigarh, India’s first planned city was designed by Le Corbusier. Photo by diametrik – http://www.flickr.com/photos/diametrik/

Le Corbusier and Politics
Le Corbusier’s famous saying, “Architecture or Revolution,” came from his belief that an efficient, industrialized architecture was the only way to avoid class-based revolution. His arguments would solidify in his book, Vers une architecture (Toward an Architecture) and culminate in his most famous work, Villa Savoye.
In 1934, he was invited by Benito Mussolini to lecture in Rome.
In the early 1940s, Le Corbusier was given an urban planning position by the Vichy government to oversee designs for various cities, including Algiers. When his plans were rejected, Le Corbusier withdrew from political life.

Villa Savoye, Arguably Le Corbusier’s most famous work. Photo © Flavio Bragaia

Le Corbusier and Art/Design
Le Corbusier adopted his pseudonym (a derivative of his grandmother’s last name) after publishing a manifesto, co-written with artist Amédée Ozenfant, called “Aprés le Cubisme.” Although he was working as a Cubist painter at the time, he felt that Cubism had grown too romantic; thus, the manifesto was his ode to a new artistic movement: Purism.
Although Salvador Dalí at one point considered Le Corbusier a “friend,” he was far from complimentary about him upon his death in 1965. He was quoted calling Le Corbusier‘s buildings “the ugliest and most unacceptable buildings in the world” and said that Le Corbusier’s “ death filled me with an immense joy. [...] Le corbusier was a pitiable creature working in reinforced concrete.” However, Dalí’s disdain didn’t stop him from putting flowers on Le Corbusier’s grave, as, in his words, “on the one hand I detested him but on the other hand I am an absolute coward.”
Le Corbusier collaborated with the architect Charlotte Perriand and his cousin Pierre Jeanneret to design iconic, modernist furniture. He was quoted as saying: ”Chairs are architecture, sofas are bourgeois.”

Convent of La Tourette. Photo © Samuel Ludwig

Le Corbusier and his Inspirations
Le Corbusier was taken with the image of the Open Hand, constructing many sculptures of it over his lifetime. He called it a ”sign of peace and of reconciliation[...] meant to receive the created riches, and to distribute them to the peoples of the world. That should be the symbol of our epoch.” See this cool interview with him discussing the 28-meter Open Hand sculpture in Chandigarh.
Le Corbusier’s design philosophy was heavily inspired by mathematical concepts used by Leonard daVinci, such as the golden ratio and the Fibonacci series, which he used as the basis for his architectural proportions.

Ronchamp, one of Le Corbusier’s most unusual works. © Cara Hyde-Basso
On August 27, 1965, Le Corbusier went for a swim, against his doctor’s orders, in the Mediterranean Sea off the coast of his beloved summer home in the south of France. His body was found by bathers.

“Architecture is the masterly, correct, and magnificent play of masses brought together in light.”
Le Corbusier, Vers une architecture, 1923



Facts via Wikipedia

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ArchDaily

Tehran Stock Exchange Competition Entry / EBA[M] + VMX Architects


Courtesy of EBA[M] + VMX ArchitectsWith the intention of expressing the meaning of the Stock Exchange for the city of Tehran,EBA[M] + VMX Architects aims to combine contemporary with traditional culture to generate a place where all the necessary activities are facilitated, but next to this physical presence there is also a symbolic representation of a distinction from its surroundings. Their project brings balance between the private and public functions and symbolizes the stable future position of the Tehran Stock Exchange. More images and architects’ description after the break.




Courtesy of EBA[M] + VMX ArchitectsAll developments worldwide are dominated by an increasing urbanization process. As a result, cities have become much more dense and at the same time more powerful. Both governmental bodies and private developers feel a need for city branding. As an answer to the new demands, building projects have become more hybrid and far more complex. The rapidly growing exposure of architecture in magazines and on websites during the last decade went hand in hand with the ongoing digitalizing techniques that have created many tools for Architects to generate spectacular 3D renderings and skills for builders to realize them. These global developments have actually resulted in so many iconic buildings that paradoxically there is now a lack of distinction between them.




Courtesy of EBA[M] + VMX ArchitectsNevertheless, there is a need for distinctive buildings. Important functions will always have to be expressed in their urban context. The Tehran Stock Exchange is one of these symbolic functions that contribute to the attraction of living in the city. Because of its trading function it can be seen as the contemporary version of the traditional souks. Trading in shares, the core business of the Stock Exchange, is an almost invisible activity but doesn’t work without talking, gathering, meeting, discussing and telephoning.




Courtesy of EBA[M] + VMX ArchitectsHaving studied the development of stock exchanges all around the world, one can see a clear tendency towards more iconic buildings. To stand out, new stock exchanges have become more hybrid. Their traditional trading functions are inadequate and various programs have had to be added. Ironically these buildings are not outstanding for a long time: the city will grow around them with even more remarkable landmarks. The well-known stock exchanges in London and New York are not so outspoken. They can be considered small, solid jewelry boxes and don’t compete at all with the buildings around them. Even more introvert is the Amsterdam Stock Exchange, which is known as the world’s origin of these trading places. This building is positioned in the old city and has a very strong architectonical image. It represents the public function of the stock exchange, allowing the public to enter and provides space for public events. Also, its forecourt with the traditional gathering area, contributes to the city life around it.




Courtesy of EBA[M] + VMX ArchitectsThe iconic value of the Tehran Stock Exchange can be generated while looking at the history of Iran. The contemporary DNA of Iran could be described as being built up from the pre-Islamic, the Islamic and the Modern period. Characteristic for the pre-Islamic era are the large-scale buildings in the landscape. Geometrical abstract forms and patterns dominating Islamic times and modernity have brought Iran the global international influence. This project expresses these traces of contemporary DNA in the new Tehran Stock Exchange.




Courtesy of EBA[M] + VMX ArchitectsThe building site for this new Stock Exchange is situated on the slope between the old center, the business district and the impressive mountains. The regulations allow a project of ten floors above and six floors under ground level. Although the project will be significantly higher than its surroundings, it will still be low in the city context. The building will have little impact on the skyline of Tehran. The required program fits in a box-like shape but by rotating the volume a bigger part of the site can be made free for outdoor plazas. In a natural way, shelter from the summer heat and from poor weather in the winter, will be created. To fit the volume in its context some of the sides have been reshaped. This total process results in a jewel-like, representative volume. The building intends to express a heroic belief in the future.




Courtesy of EBA[M] + VMX ArchitectsSquare



The entrances to the building are accessible from the covered outdoor space on the ground floor. Surrounded by water, the café is positioned on the square like a traditional kiosk in an historic garden. The main trading room is positioned on the first floor, as public as possible. Using the existing slope in the site, the tribune on the second floor can also be directly accessed from the covered plaza. To make the building into a real public building, there are several entrances possible, each of which can be clustered in compartments.


Courtesy of EBA[M] + VMX ArchitectsInside world



All the offices fit quite easily into the shape of the building. The project now shows just a suggestion of it – the real layout can only be defined in close collaboration with the users. The building will have many different floor types, but all the offices will, as in the traditional souks, have a brilliant view on the trading floor through the huge atrium. In an efficient way the elevators, stairs and escalators will lift the people up through this generous open space in the middle of the building. The apex of the building on top of the congress floor seems an ideal place for a public function. A completely independent functioning restaurant, possibly in combination with a viewing platform, will be an appropriate addition to the Stock Exchange program.


Courtesy of EBA[M] + VMX ArchitectsThe design team has chosen for very experienced local engineers. The structural expert has designed a cage-like structure that, through its symmetry, works very well with the strong form of this project. It emphasizes the image of the building, while at the same time it embraces the (Pre-) Islamic motifs. To make the building light and transparent, in keeping with its modern international meaning, the building will be clad with glass on the steel structure.



Location: Tehran, Iran
Project Team EBA[M]: Arash Mozafari, Aqil Bahra, Atie Aghaie, Ali Nejati, Mohammad Farhadi, Pedram Dibazar, Ronak Namdari, Maryam Yeganeh, Masume Molaei, Mehrad Alimohammadi, Samaneh Rezvani, Anahita Mozafari, Babak Rashedi
Project Team VMX : Don Murphy, Leon Teunissen, Shaya Falahi, Dinara Shakiba, Ines Quinterio Antolin, Zhuoer Wang, Jakub Pohunek
Model: Golshid Paydarfar, Golnoosh Paydarfar, Maedeh Roshandel
Client: New Tehran Stock Exchange Company; Towsee´Kalbodi Asia Consulting Engineers
Project Description: Public Building, Building for office and stock exchange use
Program: 30.000m² stock exchange, offices and headquarter building
Status: Competition


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Tehran Stock Exchange Competition Entry / LAVA


Courtesy of LAVA

Designed by LAVA, the proposal for the Tehran Stock Exchange fuses visionary geometries and forms with traditional elements of Persian culture. The vision seeks to define a new typology for the next century, mixing virtual and human interaction. Inspired by the local morphology such as cave houses, the building is envisioned as an urban rock, with smartly carved ovoid shapes enhancing natural light, panoramic views, interior spaces and the relationship with the surroundings. An interior light void maximizes fresh air and sunlight, while roof terraces add to the amenity of workers. More images and architects’ description after the break.
Courtesy of LAVA

Past, present and future meet inside the exchange hall, where modern muqarnas, an interactive data dome and high-tech data screens work together in a tribute to Persian history and architecture. The office floors are filled with light and air, enjoy breathtaking mountain views and allow highly functional and flexible workspace layouts. The most advanced design technologies create a fully sustainable, flexible and unique public center for the economy of the country, with a highly iconic identity.
Courtesy of LAVA

The façade draws inspiration from the tessellation and light prisms of the local architecture, whilst a media façade broadcasts real time news and an intelligent skin responds to changing climatic conditions. This design carves Tehran’s new city icon.

Location: Tehran, Iran
Team: Chris Bosse, Tobias Wallisser, Alexander Rieck
Partners: MOM, Iran Arch
Client: Tehran Stock Exchange
Size: 27,380 sqm
Status: Competition
Date: 2012










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