Defying the standards of conventional landscaping, living walls take vegetated ground cover to the vertical extreme. For the past 30 years, French botanist and green enthusiast Patrick Blanc has made a quantum leap forward in the art of gardening by designing and building these living walls all over the globe. Blanc’s latest project—One Central Park Tower—is in Sydney, Australia, where nature’s tranquil features join forces with dynamic city life. The project is a collaborative effort between Blanc and Jean Nouvel. When completed, the major mixed-use urban renewal housing plan will boast the world’s tallest vertical garden.
If you tuned in to CNN’s broadcast of “Connect the World” today, you would have seen AN‘s Executive Editor, Alan G. Brake, discussing iconic architecture and city making with host Max Foster. Alan weighed in on ongoing construction at Gaudi’s La Sagrada Familia in Barcelona, the Eiffel Tower and why people visit Paris, the lasting nature of architecture including the pyramids at Giza, and whether the Burj Khalifa will continue to be revered once it loses its title as world’s tallest skyscraper. We’ll post a video of the segment when it becomes available.
Since long before Adolf Loos published his seminal Principles of Cladding, architects have pondered the relationship between the surfaces of our environment and the secrets that lie beneath them. With his new installation at the Rokko Meets Art festival in Japan, street artist Jun Kitagawa has playfully un-zipped our curiosity.
Designing for a specific space can be a challenge, but try designing a chair predestined to become a contemporary statement in the newly-refurbished Weston Library, part of the Bodleian Libraries at Oxford, which has commissioned only its third new chair in 400 years. Earlier this year, three partnerships—Amanda Levete and Herman Miller, Barber Osgerby and Isokon Plus, and Matthew Hilton and SCP Ltd—were shortlisted to compete for the prestigious prize, which has officially been awarded to Edward Barber and Jay Osgerby with Isokon, for their low, round-backed design.
Noted Brazilian architect Lina Bo Bardi now has a travel fellowship in her name. Jane Hall, founding member of Assemble, a Stratford, UK–based architecture and design collective, has been selected as the inaugural winner of the British Council’s Lina Bo Bardi Fellowship that will allow her to travel to Brazil this year to study Bo Bardi’s work for six weeks this fall.
Hall, an architectural assistant at Studio Weave, will investigate how society, culture, and the idea of “Brazilianess” influence the country’s contemporary architectural practices. The fellowship is part of the British Council’s Transform series—a sequence of arts programs between the United Kingdom and Brazil leading up to the 2016 Rio Olympic Games.
Dutch firm Mecanoo’s latest civic building represents a new era in library design. The new Library of Birmingham in the UK replaces the former James Hardin–designed central library, a brutalist concrete structure. The new library is a sleek expression of the evolving nature of education and learning in the 21st century. The modern, metal-clad structure houses a variety of services, including a multimedia center, two cafés, a music library, a performance space, green outdoor terraces, a shop and a gallery. The design vision is that the space will offer culture and entertainment, as well as learning and information.
The 2013 Lisbon Architecture Triennale‘s emphasis on active workshops, networking and “research” projects rather than architectural set pieces often plays as live performative tableaus. The public focus of the exhibition is indeed an elevated stage in the city’s Praca da Figueira (Square of the Fig Tree) where architects are performing plays, encouraging civic engagement with public performances, and programming research workshops. Performance is also the operative scheme in another triennial initiative, The Institute Effect, that takes place the city’s Museum of Design.
I wrote in my first post from the Lisbon Architecture Triennale Close, Closer that it’s the first international exhibition that does not need or even want outside visitors. The exhibition’s organizer and head curator, Beatrice Galilee, downplays installations and object-making in favor of active workshops, networking, and “research” projects aimed primarily at residents of the Portuguese capital.