Is C2C really the concept to successfully balance ecology and economy? Although it promises to do away with the problem of scarcity, one likely consequence is a severe restriction of the use of raw materials, as well as of the knowledge necessary to make C2C work. For these reasons an open source approach to ecology is urgently needed.
Steef Buijs’ training as an urban planner was back in the sixties, so world food problems were not part of his original ‘mindset’ as a planning professional. During his work however he encountered these problems increasingly often and achieved growing insight into how these relate to urban development all over the world. What follows is an account of these experiences, resulting in his present view on how ongoing urbanization might help solve the food crisis.
Every socio-political movement needs a history, even if you have to invent one. Panayiota Pyla drafts some possible (pre)histories of sustainability and compares them with current developments. She warns for simple historical legitimizations and proposes to constantly interrogate and contest emerging strategies.
From the moment sometime at the end of the seventies or the beginning of the eighties that progressive appeared to be conservative and vice versa for designers there appeared to be little more to do than base one’s work on individual taste. Tackling modernism as the dominant paradigm was old news, although some architects continued to indicate their infatuation with it. The rest is history.
How do architects retake ground, how do they develop a new method? Shamiyeh addresses these questions in detail, explaining a practice of searching for emergent opportunities by relating science theory to business and management structures. He argues that creative decision making and problem solving are fields in which architectural knowledge is more needed than ever before.
The Office for Unsolicited Architecture proposes an alternative: a new form of practice that pro-actively seeks out new territories for intervention, addresses pressing social needs and takes advantage of emerging opportunities for architecture.
In order to actively grapple with the challenges of our age, architects have to transform themselves from extremely competent executors of assignments into entrepreneurs and producers. This issue of Volume discusses essential tools to reclaim professional autonomy.
Since the dawn of the people’s capitalism, where just about everyone is tied to the ups and downs of the stock market, the concept of the bursting bubble and rapid plume of shares attaining ‘a more realistic level’ has become a wide-spread cultural theme. Not just in financial markets, but in many social domains, we see how certain concepts, brands, and personalities are overvalued or promoted and how, as a consequence, counter-forces oblige them to make a reality check. Hype dies, the public gets distracted, and those who were only recently the center of attention are forgotten for the next big thing.
An unspoken revolution is occurring in architecture; a change that is slowly, sub-structurally altering the profession, from what we do, to how we do it and what we are being asked to deliver.
Neither Desperate Nor Decadent is a reaction to Ole Bouman’s article Desperate Decadence in Volume #6. Bouman met Al Sager, Al Rubaian and Khanafer -three students from Kuwait- while travelling, and invited them to respond to his article.
Cities arise because of people’s basic need to live and work near one another. The city offers freedom, anonymity, trade, economy of scale, an immediately accessible consumers’ market, work potential – a swarming brew of ideas and innovation that fulfill man’s social, psychological, and economic needs. The city is the motor of progress.
Not having enough to do, architects often do too much. Devoted with masochistic fervor to a profession whose expertise is routinely ignored, they treat each project as if it might be their last, turning it into an ark loaded with their best ideas compacted into an intense display of effects.
At the most abstract level, the task for the artist and for the architect is essentially the same: to specify a frame. The artist’s frame may be entirely concrete or entirely abstract – from an ornately gilded rectangle to a spoken instruction – but always acts to define its contents as being artworks, whether they are newly created or nothing but found objects.
The slide showed one of the portals of C.F. Hansen’s Courthouse in Copenhagen, one of the major works of Danish neo-classicism. The technical quality of the slide was perfect and we came to the conclusion that its quality as a photograph was pretty good too.Some time later we needed a photograph for an article about […]
Indeed, Berger had built very little when, in 1988, he won the international competition for the park. His Parisian production was limited to a handful of discreet buildings, the kind of which are too delicate to please the media or to fill the front page of an architectural magazine. Discreet also is the architect – […]
In the October 1992 issue of Archis Richard Plunz offered a glimpse of the new American ghettos with their torn-down blocks. Since the destruction of the `Cité des 4000′ in La Courneuve in 1986, blowing up tower blocks seems to have become a form of sport in France. In the Netherlands there has been the […]
Bodon was born in Hungary. His father was an interior designer and cabinet-maker who worked in Jugendstil and was influenced by the Viennese Secession. At the age of thirteen Bodon spent some time in the Netherlands and by chance was introduced to humanist circles where he met Jan Wils. When in 1926 Bodon had to […]
If there are any post-modern architects in the Netherlands, then their country’s nineteenth-century architectural heritage seems to have passed them by. It was the art historians who were interested in and theorized about the Gothic Revival, a movement especially suited to their historical constructions and their desire to link the past to the present with […]
The decision of the editorial staff to publish a bilingual Archis beginning in 1993 demanded a new outlook for the word-picture relationship. Because the amount of text is now double, and visual images are the same in every language, an unbalanced relationship could result. Every possibility has been studied in order to find a balance between `the respect for the text’ and `the autonomy of the image’.