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Strolling the Architectural Zoo: Eisenmanis Infuribus (click to enlarge)

Later today (in my time zone), the jury of the Pritzker Prize will reveal the name of the laureate for the 2012 edition of the award. This year, the 9-member jury integrated by Lord Peter Palumbo, Alejandro Aravena, Stephen Breyer, Yung Ho Chang, Glenn Murcutt, Juhani Pallasmaa, Karen Stein, and Martha Thorne will decide the name of the architect who will be invested as the 34th laureate in a ceremony that will take place in Beijing. Thomas J. Pritzker, in reference to his city being selected as this year’s host, commented that “over the three decades of prize-giving, we have held ceremonies in fourteen different countries, in venues ranging from the white house in Washington DC to Todai-Ji temple in Nara, Japan. the tradition of moving the event to world sites of architectural significance was established to emphasize that the prize is international, the laureates having been chosen from 16 different nations to date. This will be our 34th event marking the first time we have gone to China.” Inevitably, China and Beijing have also hosted an increasing number of projects built by past Pritzker Prize laureates, such as Rem Koolhaas, Zaha Hadid, Herzog&de Meuron, and I.M. Pei, winner of the 1983 edition.

Over the years, the Pritzker organization has featured a combination of total predictability, submitting to the architectural status quo by awarding its prize to the decreasing members of the star(chitectural) system who are left -and the Oscar-like custom to reward old-timers in not particularly moments of their careers before it’s too late-, and a penchant for alternating those with lesser-known names, usually artisans from the outside of the anglo-saxon market. In 2011, Eduardo Souto de Moura came (at least for me), as a pleasant surprise, and this year there seems to be a consensus -as there was last year- on Steven Holl’s or Toyo Ito’s likeability to become laureated. However, the web resounds with many other names, from David Chipperfield to Kengo Kuma and Ben Van Berkel, or even the recently deceased Luis Moreno Mansilla, among other more extravagant proposals. There seems to be also a big consensus on the unlikeability of both Daniel Libeskind and Peter Eisenman, who I think would qualify to reprise the equivalent of Martin Scorsese’s role in  the Oscars of 2006.

Anyone wanna bet?

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UPDATE: Finally, Chinese architect Wang Shu, from “Amateur Architecture Studio” received this year’s Pritzker Prize.

From Chigago Tribune’s Cityscapes: Wang Shu, 49 (left), deftly melds tradition and modernity, often by reusing bricks and tiles from demolished buildings in such bold new designs as a history museum in the Chinese city of Ningbo. Wang calls his office the “Amateur Architecture Studio,” yet that name is far too modest, the jury that selected him said in its citation. His work “is that of a virtuoso in full command of the instruments of architecture—form, scale, material, space and light,” said the jury, which mainly consists of architectural experts. This year, it included for the first time U.S. Supreme Court Justice Stephen Breyer, who has a keen interest in the field.

In a telephone interview from Los Angeles on Saturday, Wang said the award was “big surprise.” He was sharply critical of the tabula rasa development practices that are transforming the cities of the world’s most populous nation.  “Originally, Chinese had many beautiful cities,” Wang said in his clear but imperfect English. “They demolish everything. They called it modern city. They build a very wide road system. Then every block they give to a development company to build a high-rise apartment building. Suddenly we let every Chinese city become big suburb. (…) New York, Los Angeles, Las Vegas combined together (…) is Shanghai.”
 
Wang and his wife, Lu Wenyu, founded their practice in 1997 in the southeastern Chinese city of Hangzhou. Their portolio spans a broad range of scales, from museums, high-rise apartments and college buildings to single-family houses whose curving roofs subtly evoke ancient Chinese pagodas. The Pritzker jury singled out Wang’s Ningbo history museum as a superbly-functioning icon that presents a powerful alternative to the twin extremes of architectural nostalgia and shock-of-the-new modernity. “In this world, people like to talk about science, technology, computer,” Wang said. I like to talk about architecture by hand–hand-drawing to hand-making.”  
 
“His buildings have the unique ability to evoke the past, without making direct references to history,” the jury said in its citation.  Although jury members knew the presentation would be made in Beijing when they deliberated earlier this year, the location of the ceremonies did not influence their decision, according to administrators of the prize. “The jury does not speak about geography. They never portion out between countries. The only concern they have is architectural quality,” said Martha Thorne, the prize’s executive director.
 
More at Cityscapes and EdgarGonzalez.com.

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A fistful of useful links: The official announcement can be found at the Pritzker official site here, along with a -not that- short bio of the architect. An architectural tour through Wang Shu’s different works can be found in this post by Edgar González, and this other one in Domus, while Los Vacíos Urbanos offers a nice set of the Ningbo Museum with photgraphs by Iwan Baan (more here). Another impressive set by Evan Chakroff  can be found in Archinect (more in Evan’s own blog, Tenuous Resilience), and A Weekly Dose of Architecture already featured a stroll through the China Academy of Art third campus in Zhuantang Town in this nice old post from 2008. Designboom has a couple of posts dedicated to Wang Shu’s installations in the Venice Bienale and the 2011 Biennale of Architecture and Urbanism in Shenzen/Hong Kong. Finally, Archdaily offers a review of Shu’s figure by Pritzker member of the jury Alejandro Aravena.

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LAST UPDATES: Why Wang Shu? An article by Brendan McGetrick at Domus Web. Domus also recovered a quite complete article on the  Ningbo History Museum from their archive here.

Also, the nice people in METALOCUS decided to translate part of this post and publish it, along with the illustration, on their website.

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Click to enlarge

Previous collaborations for CLOG: BIG here and here

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 “Et in Arcadia Ego”

 Poussin

“And it’s a question of how far we’re willing to go in order to let the ego shine, in order to let that beacon penetrate not only the local scene but the world.”

Taylor Hackford

For all its promise of unlimited connetivity, Apple´s design seems to leave almost everything out. Apple has built a style on impenetrability, providing us with sleek, polished technological gizmos that are not only, a product of design, but a symbol of designed obsolescence.

Apple is itself a brand and a symbol, a signifier of future and Buzz-Lightyear-ian progress towards infinity. However, its approach to design takes us back to a past, long gone vision of future utopia bred in hardcore modernism. When Apple´s New Wave was launched in 1984, cyberpunk had started to reshape the image of the future and future technology according to a postmodern sensibility. Star Wars, Alien and Blade Runner introduced an image of the future as a layered, additive and textured place, a dark but rich metropolitan –megalopolitan- reality whose productive (thanks, Chen&Young) dystopianism provided us with an inclusive approach to postmodernism, as opposed to the exclussiveness of academic PoMo, and a new way to conceptualise (a new eye to look through) our urban postmodern reality.It´s extraordinarily fitting that the man chosen to inaugurate the era of Apple Design in a commercial reminiscent of Owrell´s 1984 was precisely Ridley Scott, who touched in the lapse of two years on the two poles that, as Peter Lunenfeld notes, still rule contemporary culture thirty years after.

Apple´s present-future is not the system of constant retrofitting dictated by the permanence of every-thing that Syd Mead designed for Blade Runner, but the clean, plastic and semi-translucent reality of Alex Proyas´s I Robot, a reality of immutable and ephemeral objects designed to shine and die, as user-friendly as they remain impermeable to change (…the light that burns twice as bright, burns half as long). And in doing so, Apple leaps over postmodernity to recover the dream of a clean, antiseptic, white utopia dreamt in the age of pulp. Jobs´s dream of the future is that of William Cameron Menzies´s Things to come, of streamline design, of Norman Bel-Geddes´s Futurama, where Roman togas have been substituted for Mao collars and turtlenecks.

Looking like an alien mothership hanging gently in the middle of Arcadia, the new Cupertino campus resounds with echoes of Steve Jobs sitting in peaceful yoga position in his empty apartment in the 80s, and it really speaks of a dream of ascetic-aesthetic plenitude that goes back to modern utopianism. Foster´s design, bred in a sensibility nourished by Dan Dare, Werner Von Braun and the visionary 60s conjures an ultimate state of the Corbusian cult of the liner as a model for architectural assertion. The platonic exactitude of Cupertino´s rounded shell conjures the old ideal of ectopic utopianism: a technological eutopia of isolated perfection in an anthitetic relationship with natural beauty. Apple leaves behind the organic, anarchic ambiguity of postmodernity, substituting the visceral for the virtual; and somehow, this renewed dream of an (old) brave new world scares me a little bit.

But then, I´m a PC guy.

Image Captions: 1. Cupertino: Apple Campus 2. Foster and Parners, 2011. 2. Things to Come. William Cameron Menzies, 1936. 3. Heliopolis. Project for an Olympic Village in the Mountains of Tatras. Alex Mlynarcik, 1968. 4. Werner Von Braun et al.: Space Station. Across the Space Frontier, 1952. 5. Thalassa: Project for a Floating City. Paul Maymont, 1959.
Image credits: Heliopolis photographed by the artist. In RAGON, Michel:Histoire mondiale de l’architecture et de l’urbanisme modernes. T.3. Prospective et futurologie; 350. Thalassa: Photo by P. Joly/ Vera Cardot. In RAGON, Michel: Les Cités de l’Avenir. Paris: Editions Planète, 1968.  Space station: Illustration by Chesley Bonstell. In KAPLAN, Joseph et al.: Across the Space Frontier. New York, Viking Press, 1952. Everytown: Frame from William Cameron Menzies´s Things to Come. London Film Productions/United Artists, 1936.

Luis Miguel Lus-Arana: “Return to Ectopia: Apple Design and Futurist Classicism”. Published in MAY, Kyle et al. (edited by): Clog: Apple nº 2. NY: February 2012, pp. 96-7

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CLOG: APPLE. On 7 June 2011, Steve Jobs presented Apple Campus 2 to the Cupertino City Council. Due to Apple’s high profile – not to mention the scale and iconic nature of Foster + Partners’s design – the online reaction to the “spaceship” was immediate and strong. While Apple has been building retail stores throughout the world for over a decade, discussion, even among architects, has typically focused on the company’s famed product design. With one of the largest American office projects in history underway in Cupertino, it’s time to talk about Apple and architecture.
Contributors: Michael Abrahamson, Paul Adamson, Gary Allen, Collin Anderson, Haik Avanian, Rachel Berger, Freek Bos, Gabrielle Brainard, Tom Brooksbank, Keith Burns, Marcus Carter, Haiko Cornelissen, Philippine d’Avout D’Auerstaedt, Erandi de Silva, Kevin Erickson, Matthew J. Giordano, Hanny Hindi, Julia van den Hout, Allyn Hughes, Axel Kilian, Klaus, Austin Kotting, Michael Kubo, Jimenez Lai, Nicholas Leahy, Christopher Lee, Frank Lesser, Michael Ludvik, Luis Miguel Lus-Arana, Kyle May, Adam Nathaniel Mayer, Nicholas McDermott, Mark McKenna, Samuel Medina, Louise A. Mozingo, Rob Nijsse, The Office of PlayLab, Inc., Glenn Phillips, Graffitilab, Nina Rappaport, Jacob Reidel, Erin M. Routson, Mika Savela, Chris Shelley, Noam Shoked, Mike Treff, Kazys Varnelis, Ronald Wayne, and Human Wu.

Clog: Apple edited by Kyle May, Julia Van den Hout, Jacob Reidel and Human Wu. Design by PlayLab, Inc. Find it here.

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