How can we move beyond abstract architecture, where buildings are constructed without their audiences? Peter Ferretto’s method is based on observation, engagement, and the osmosis between teaching, practice, research, and social impact.
In his monumental history of ruins, Alain Schnapp gives an account of the multiple ways to resist oblivion, both material and immaterial. Ruins are not so much objects as processes implemented by societies in order to contemplate their place in history.
Photography, both an art form and a tool for documentation, can bear witness to the history of a city. “Classical Edinburgh” celebrates Edinburgh’s neo-classical architecture as seen through the lens of photographers Edwin Smith and Colin McLean, and invites reflection on the conservation of architectural heritage.
What’s more ordinary than a bridge? However, a bridge is a living structure that has to be designed, built and maintained. Here is our interview with a legendary bridge designer, who is also a man skilled in the art.
How can architectural styles reflect political shifts? Scotch Baronial analyses many of Scotland’s most important buildings through the lens of political history, presenting architecture as the consequence or invigorator of mainstream history.
“Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture, tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland.
Based on the example of Toronto, the sociologist Guillaume Ethier reflects on the cultural and urban effects involved in contemporary architectural realizations referred to as “iconic.” This architecture—a sort of sculpture on a grand scale—derives its aura from starchitects who conceive it and maintain a complex relationship with its urban environment.
The highest prize of the architectural world was awarded to Swiss architect Peter Zumthor in 2009. His phenomenological approach, paying special attention to natural landscapes and local building traditions, is at odds with the dominant contemporary architectural design. He has the merit of raising the thorny question of what architecture means at a time of widespread urban living and the crisis of place.
Almost twenty years ago, Christian de Portzamparc was the first French architect to receive the Pritzker Prize. Today his Atelier, located in Paris, is more dynamic than ever, with ambitious projects like the Cidade das Artes in Rio, or the participation in the Grand Paris project. The following interview shows an architect urbanist whose work is geared towards the city and music.
