Peruvian architectural firm leonmarcial arquitectos has been invited to take part of the 17th Venice Architecture Biennale with an installation at the Arsenale as part of the “As New Households” exhibition space. Titled Interwoven, the installation encourages the action of sharing and celebrates the exchange between homes and their environments through architecture.
The automation of architectural design and rendering has been further accelerated by digital production tools. Tools such as 3D printers, assembly robots, and laser cutters, have all but perfected the design and construction process and have proven essential in optimizing resources, improving precision, and increasing control of the process.
Capturing aerial photographs allows raising awareness of a project feature usually complex to capture using traditional methods. Based on the technological opportunities offered by small unmanned aerial vehicles (UAVs), commonly called drones, architecture photographers have begun to explore new ways of capturing a project in order to expose design decisions such as implantation, dialogue with the environment, or the relationship with nearby buildings.
Whether applied as cladding to steel or timber frame structures or to structures built by traditional means, sheet metal offers an array of advantages as a building material, thanks to its low cost, ease of maintenance, and versatility.
Can architecture foster better relationships between people, creating an equalized and respectful use of space? Can tools be designed that strengthen the bonds between humans and objects? BAAG (Buenos Aires Arquitectura Grupal) studio explores the architectural elements that mediate between people and objects, the natural and artificial, public and private, individual and collective, and humans and other living things.
How does systemic thinking and generative design contribute to new forms of convivence? Can they become tools to connect tradition and identity in a modern way? Can they help to design customizable architectural strategies that offer locally accessible solutions? Can they contribute to the creation of dignified spatial experiences that can be replicated on a mass scale?
“Playground: Artifacts for Interaction”, by curator Felipe Ferrer, aims to transform the fences surrounding Peru’s public spaces into tools for social integration. The project proposes removing the gates enclosing public spaces throughout Lima and Peru’s other urban centers, inviting residents to freely enter and interact with the spaces. By removing these “security” mechanisms, which really serve as tools of segregation, and installing benches, playgrounds, and soccer fields, the project aims to divert all the energy, time, and resources put into installing fences and channel it into bringing new life to these public spaces.
As Francis D. K. Ching explains in his book Architectural Graphics, unlike the traditional, two-dimensional orthographic drawings used to represent layouts, sections, and floorplans, which only allow a project to be glimpsed through a series of fragmented images, axonometries, or axonometric projections, offer unique, simultaneous three-dimensional views of a project with all the depth and spatiality of tried and true technical illustrations.
At first glance, building a pool right beside another body of water seems a little redundant. After all, why would someone choose to swim in a pool when they have a river or ocean to enjoy? However, for people with limited mobility and younger more inexperienced swimmers, natural bodies of water can prove both daunting and dangerous. Pools not only provide a controlled, secure space for them to enjoy aquatic activities, they also provide a connection with the surrounding landscape.
In his book “The New Brutalism in Architecture: Ethical or Aesthetic?,” Reyner Banham establishes what he deems the semantic roots of the term ‘Brutalism,’ explaining that it comes from one of the ” indisputable turning points in architecture, the construction of Le Corbusier’s concrete masterpiece, la Unité d’habitation de Marseille. It was Corbusier’s own word for raw or rough-cast concrete, “Béton brut,” that made Brutalism a mainstay in architectural jargon and, in many ways, the term, as well as the architecture it described, flourished.” In the book, Banham highlights the historical milestone marked by Corbusier’s Unite d’ Habitation and the socio-political context that shaped it. In steel-starved post-World War II Europe, exposed concrete became the go-to building material within the burgeoning Brutalist movement, which quickly defined itself by its bare-bone, rugged surfaces and dramatic, geometric shapes.