ArchiCulture

Archiculture Official Trailer from arbuckle industries on Vimeo.
Logline
Archiculture examines the current and future state of studio-based, design education.

Synopsis
Archiculture takes a thoughtful, yet critical look at the architectural studio. The film offers a unique glimpse into the world of studio-based, design education through the eyes of a group of students finishing their final design projects. Interviews with leading professionals, historians and educators help create crucial dialog around the key issues faced by this unique teaching methodology.

Outline
1. Intro - Welcome to archiCULTURE
2. Design Education - So What Exactly is Design Education?
3. Studio Culture - Meet Your New Family
4. Critique - Desk Crits, Pin Ups, Juries O’ My!
5. Best Architects - Making it as an Architect
6. School vs. Practice - Two Worlds Collide
7. Starchitecture - The Plague of the Starchitect
8. New generation - The Designers of Tomorrow
9. The Future - I See Myself...

To stay updated about local screenings please follow us on our Facebook Fan Page: https://www.facebook.com/pages/Archiculture/176928975652899

http://www.archiculturefilm.com/

... Where Creativity Flourishes

On the Edge of Chaos: Where Creativity Flourishes

For better read kindly check original location:http://blogs.kqed.org/mindshift/2014/05/on-the-edge-of-chaos-where-creativity-flourishes/

If it’s true, in Sir Ken Robinson’s words, that “Creativity is not an option, it’s an absolute necessity,” then it’s that much more imperative to find ways to bring creativity to learning.

But first, we have to understand what conditions foster true creativity. One definition that scientists have agreed upon for creativity is the ability to create something that’s both novel as compared to what came before, and has value. “It’s this intersection of novelty and value, a combination of those two features that’s particularly important,” Dr. Robert Bilder, a psychiatry and psychology professor at UCLA’s Semel Institute for Neuroscience and Human Behavior. In any system, there are forces pushing towards organization and others introducing unpredictability. A truly creative idea straddles both of those states.
“The truly creative changes and the big shifts occur right at the edge of chaos,” Bilder said.
For educators who have embraced the notion of the tightly controlled classroom, it’s a worst-case scenario. But Bilder has a reason for this theory. He tested it by asking children what aspects of a learning environment make them feel most creative. “One of the things they found most valuable in their arts classes was the freedom not to have to seek right and wrong answers,” Bilder said. “It was that freedom to explore that led them to be increasingly engaged and allowed them to forge connections that allowed them to be more creative.”
It’s the lack of this type of freedom that has led skeptics to question if today’s schools could ever inspire true creativity. While there are exceptions — schools that have built freedom of expression into their models — the majority of schools, whether public or private — expect students to conform to behavior norms that don’t allow for the individual space to daydream, reflect, and create. In fact, creative behaviors are often associated with mental disorders.

“In the school environment, creativity can be considered pathological behavior as opposed to the compliant traits of being reliable, sincere, good-natured, responsible, tolerant, and peaceable — the qualities associated with the lowest levels of creativity,” writes Cevin Soling. Openness to new experiences and a “disagreeable personality” are also associated with creative achievement, two attributes not always found in schools.
To foster creativity, teachers can make room for more freedom around activities in class, and highlight students’ ability to be creative achievers, Bilder said. Freedom offers students space to generate ideas.
How does an educator know if she’s creating space for creativity? The way Bilder describes it, students in a classroom that allowed for creativity would appear to a visitor to be enraptured in what they were doing — they’d be in the zone. “You’d have a hard time distracting them and getting them away from what they’re working on,” Bilder said. He highlighted project-based learning as a way that educators are beginning to introduce choice, and thus freedom, into school work, making space for at least some creativity.

COGNITIVE TRAITS OF CREATIVITY
Generating lots of different ideas is more important to creativity than many people realize. That’s partly because of the free flowing nature of coming up with lots of ideas, no matter how ridiculous they seem, but it’s also because it gets the idea out of the brain, making space for the next idea.
“When we look through examples of illustrious creative types these individuals create a lot of work,” Bilder said. Picasso is a good example. The artist created between 10,000 and 50,000 works of art (depending on how they’re counted). The number of pieces produced is the number one predictor of creative achievement, said Bilder. Additionally, putting an idea to paper and expelling it from the mental space allows the creator to react to it in new ways.
While many people cite disinhibition as a crucial element of creativity — and it is — positive inhibition is even more important, Bilder said. “The ability to inhibit the first thing that comes to mind in order to get to the higher hanging fruit in the cognitive tree is one of the cornerstones of creative achievement,” said Bilder. The first idea is not usually the most novel one; pushing past the easy answer and reaching for a better one is a mark of creativity.
Perhaps one of the most important parts of creativity is its connection to emotions and the visceral parts of the brain. “Neuroimaging experiments show us that we use the very same neural systems to feel our bodies as to feel our relationships, our moral judgments, and our creative inspiration,” said Mary Helen Immordino-Yang, a professor at USC’s Rossier School of Education and an expert on the neuroscience of learning and creativity. She and other neuroscientist researchers have found that this visceral connection to the body is a huge motivator of creativity.
To develop ideas that could be considered creative, the brain has to be both stable and flexible at the same time. Brains perform just this type of balancing act every second of every day. “The brain maintains a duality of systems that are constantly introducing flexibility into our thinking and then trying to stabilize our thinking,” Bilder said. The brain evaluates a new stimuli, compares it the plan originally set and then decides on the optimal degree of flexibility or stability to pursue. This cycle happens three times per second.
To reach that perfect state of brain balance it helps if the creator is feeling what Bilder refers to as “flow,” and what an athlete might call “playing in the zone.” It’s an automatic, effortless, but highly concentrated state when all the practice and knowledge leading up to that moment comes pouring out in perfect harmony.
Musicians and artists describe this same sense of flow, which can appear out of nowhere and often doesn’t happen when someone is trying too hard to form an idea. “When you’re trying so hard to come up with ideas you can’t do it, you can’t force it,” said Charles Limb, associate professor of Otolaryngology-Head and Neck Surgery at John’s Hopkins University. “Then at another time, some flip switches and you’ve got this flow going on, this generation of ideas.”
Limb’s research has shown that when musicians are improvising, there’s a switch away from the lateral prefrontal lobes responsible for monitoring and self-censoring, allowing the musician to generate ideas more freely. Limb’s research has led him to agree with Binder that freedom to explore and practice without a specific goal in mind is a key element of developing creative competence. “You have to cultivate these behaviors by introducing them to children and recognizing that the more you do it, the better you are at doing it,” Limb said.
So, can educators help their students become more creative? Some teachers are moving in that direction, loosening the rules, giving students choice, celebrating ideas and behaviors that challenge the status quo, but without a drastic reimagining of the structures within which educators work, true creativity could be hard to find in school.

Picks from the 99U

Selected Talks from Behance event 99U
Tina Seelig: The 6 Characteristics of Truly Creative People from 99U on Vimeo.

Gretchen Rubin: The 4 Ways to Successfully Adopt New Habits from 99U on Vimeo.
Original at https://vimeo.com/99u/videos
Josh Reich: Design Is Not a Department from 99U on Vimeo.

Joe Gebbia: Executing Your Idea Starts With a Single Step from 99U on Vimeo.

Brené Brown: Why Your Critics Aren’t The Ones Who Count from 99U on Vimeo.

Simon Sinek: Why Leaders Eat Last from 99U on Vimeo.

The Choice Point Movement

• Join the Choice Point Movement

   
• By Richard Branson -
• Jul 09, 2013

 

Everyone needs a touch of inspiration sometimes. It was very motivating to be involved in theChoice Point Movie, a film aiming to encourage people to take on seemingly insurmountable challenges and rise above them. 

In the film you can learn about the choice points that had a huge impact upon the lives of everyone from Archbishop Desmond Tutu to young people at the start of their personal journeys. Yours truly also makes an appearance to discuss the work of Virgin Unite, The Elders, Carbon War Room and how we can use our entrepreneurial skills to tackle some of the world’s toughest challenges.

The Choice Point Movement has three key pillars for having a positive impact upon people’s lives: understand your world, align your purpose and be the change. It is all about taking action to alter your own life, which can spark a collective ripple of change on a much wider scale. 

What will your choice point be?

By Richard Branson. Founder of Virgin Group

http://www.virgin.com/richard-branson/join-the-choice-point-movement

Ila souria Competition

 Ila souria Competition > July

عبّر عن نفسك

في هذه الفترة من الانتاج الاعلامي الغزير من جميع المصادر، ولكن حيث نسمع كل شيء ما عدا رأي الشعب السوري، تقدّم “إلى سوريا” للشابات والشباب السوريين فرصة التعبير عن أنفسهم

إن معارف المختصين والجردات و تحليل المختصين من كل أنحاء العالم، كلها أشياء أساسية لا يمكن فصلها عن رأي اللاعبين الحقيقيين للثورة وخاصة الشباب الذين يساهمون غالباً، في هذا السياق المأساوي، بحياتهم لبناء المستقبل

أي مستقبل؟

لذلك تعرض “إلى سوريا” على كل واحد، السؤال التالي

ما الذي يساعدكم على البقاء والحفاظ على الامل منذ بداية الثورة؟ بأي مستقبل تحلمون؟ وكيف تفكرون بإمكانية تحقيقه؟

هناك طريقتان للإجابة على هذا السؤال

ـ إما بواسطة نص،

ـ أو بواسطة صورة ( أو الإثنين معاً للذين يرغبون بربط كلماتهم بتصوّر ما

نص مع حريّة تعبير كاملة و مطلقة (رسالة، قصة، شعر، إلخ) وصورة مع الامكانيات اللامحدودة للغة المرئية (رسوم، كاريكاتور، منحوتات، تصميم، صور، ملصقات، إلخ)

الشروط

إجابة نصية= 200 كلمة كحد أقصى باللغة العربية أو 300 كلمة باللغة الفرنسية او الانكليزية.

300 dpi مع دقة jpg إجابة صورية= الابعاد القصوى للصورة: إرتفاع 20 سم ـ العرض 15سم، مسجّلة بقطع

تجدر الإشارة إلى أن المنشور سوف ينشر بالأبيض والأسود (مستوى الرمادي):على المبتكر إذاً أن يأخذ بعين الاعتبار هذه المعطيات الاساسية في تكوين اللون، إما من خلال العمل مباشرة على هذه الثنائية أو عبر اختيار الالوان الملائمة في الاطار المفروض

نطلب من الجميع الالتزام بهذه الشروط لاسباب تتعلق بالتصميم الرسمي الذي علينا تسليمه للطابع.

من المستحسن تحديد الاسم او العائلة او اسم مستعار والعمر ومكان الاقامة الحالي والمعتاد (للنازحين والمنفيين

ستنشر الردود على الانترنت على موقع “إلى…” و مجموعة مختارة ستنشر (كتاب، حجم 24ـ 18سم) باللغة العربية او الفرنسية او الانكليزية مع نشر أعمال المؤتمر الاول لإلى…، إلى سوريا.01، اللذي سيقام في معهد العالم العربي في باريس، في تشرين الاول المقبل

يجب ارسال النصوص والصور المقترحة بالبريد الالكتروني وذلك قبل ٧ تموز ٢٠١٣ على العنوان التالي

ila.alaati@gmail.com

نشكركم على تعريف اصدقائكم و معارفكم على هذه المبادرة. و ننتظر شهاداتكم بفارغ الصبر

إلى سوريا

http://www.ilasouria.org/الصفحة-الرئيسية-welcome/

EXPRIMEZ-VOUS !

Dans cette période de foisonnement médiatique de toutes origines mais où l’on entend tout sauf l’opinion du peuple syrien, Ila Souria propose aux jeunes syriennes et syriens de s’exprimer.

Les savoirs de spécialistes, les inventaires et état des lieux, les analyses d’expériences de par le monde,
toutes choses essentielles ne peuvent être dissociées de l’opinion publique, et donc de celle des véritables acteurs de la révolution, en particulier des jeunes, qui dans ce contexte tragique contribuent, de leur vie souvent, à construire l’avenir .

Quel avenir ?
Aussi, Ila Souria soumet à chacun la question suivante :
Qu’est-ce qui vous aide à tenir et à garder espoir depuis le début de la révolution ?
De quel avenir rêvez-vous ? Comment pensez-vous pouvoir le réaliser ?

Deux façons de répondre à cette interrogation :
- soit par un texte,
- soit par une image (soit les deux pour certains qui voudraient associer une représentation à leurs mots).

Texte avec une totale liberté d’expression (lettre, récit, poésie, etc.) et image avec une infinité de possibilités de langages visuels (dessins, caricatures, sculptures, maquettes, photographies, collages, etc.).

Contraintes :
Réponse textuelle = maximum de 200 mots en langue arabe et de 300 mots en langue française ou anglaise.
Réponse graphique = dimension maximum de l’image : hauteur 20 cm – largeur 15 cm, enregistrée au format jpg avec une résolution de 300 dpi.

A noter que la publication sera éditée en noir et blanc (niveau de gris) : au créateur donc de prendre en considération cette donnée essentielle dans sa composition colorimétrique, soit en travaillant directement dans cette bichromie soit en choisissant les “bonnes“ couleurs dans le cadre imposé.

Nous vous demandons à tous de bien respecter ces contraintes pour des raisons pratiques liées à la maquette graphique que nous aurons à remettre à l’imprimeur.

Il est souhaitable d’indiquer les prénom et nom ou le pseudonyme, l’âge, le lieu de vie actuel et habituel (pour les déplacés ou les exilés).

Les réponses seront publiées en ligne sur le site ILA… et une sélection des réponses reçues sera publiée (livre, format 24x18cm) en arabe, français et anglais avec une parution pour le premier colloque de ILA…, Ilasouria.01, qui se déroulera à l’Institut du monde arabe à Paris en octobre prochain.

Les textes et les images proposés devront être adressés par mail à ila.alaati@gmail.com et cela impérativement avant le 07 juillet 2013.

Merci de faire connaître cette initiative, à vos proches et connaissances. Nous attendons avec impatience vos témoignages !

http://www.ilasouria.org/exprimez-vous/

HAVE YOUR SAY !

There is no shortage of opinions in the media about the situation in Syria. It seems everybody has something to say – but we’re not getting to hear from the Syrians themselves. That is why Ila Souria is reaching out to the young people of Syria, so their voices can be heard.

Specialists’ input, inventories and assessments of the state of affairs, analyses of pertinent experiences around the world… all are essential ingredients that cannot be dissociated from public opinion and the feedback of those who are directly involved in the revolution—especially young people who, in this tragic context, in many cases are giving their very lives to help build the country’s future.

What kind of future lies ahead?

Ila Souria would like people to consider the following questions:
What has given you hope, and kept your hope alive, since the beginning of the revolution? What kind of future do you dream of? How do you think it can be achieved?

There are two ways to submit your answers:
– in written format
– in visual format (or both, for those who wish to combine images and words).
Your written contributions can take any form you like (letter, story, poem, etc.) as can your visuals (drawings, caricatures, sculptures, models, photographs, collages, etc.).

Conditions:
Written contribution: Maximum of 200 words in Arabic or 300 words in French or English.
Visual contribution: Maximum height of 20 cm and maximum width of 15 cm, submitted in JPG format, resolution 300 dpi.
Please note that the final document will be published in black and white (grey scale). Creators should therefore take this into consideration in their colour choices and composition, either by working directly in black and white or by choosing an easily adaptable colour palette.
All contributors are asked to kindly adhere to these limits, which are required to meet practical printing considerations.
It is preferable to include your full name or pseudonym with your contribution, as well as your age, your current place of residence and your usual place of residence (for those who are displaced or in exile).
Contributions will be posted on the ILA website, and a selection will be included in a book (24 cm x 18 cm) to be published in Arabic, French and English. The book will be launched at the Ilasouria.01 symposium, which will be held at the Institut du monde arabe in Paris in October 2013.

All contributions must be sent by email to ila.alaati@gmail.com by July 7, 2013, at the very latest.

Be sure to spread the word about this initiative to as many people as possible.
We look forward to hearing from you!

Tällberg Forum 2013

Tällberg Forum 2013

 See all sessions from the Tällberg Forum here:

• 13 June, 14.00-14.30 (CEST): Press conference
• 13 June, 16.00-18.30 (CEST): Session I (Opening)
• 14 June, 08.30-10.00 (CEST): Session II
• 14 June, 14.00-15.30 (CEST): Session III
• 15 June, 08.30-10.00 (CEST): Session IV
• 15 June, 16.30-18.30 (CEST): Session V (Final Session)

http://www.tallbergfoundation.org/ACTIVITIES/T%C3%A4llbergForum2013/webbstreaming/tabid/1316/Default.aspx

http://www.tallbergfoundation.org/Portals/0/Documents/TF13/Companion_Overview%20program.pdf 
http://www.tallbergfoundation.org/Portals/0/Documents/TF13/Companion_Day-by-day%20program.pdf


At the heart of the Foundation’s activities lies the annual Tällberg Forum. 

The Forum integrates nature and the arts, where people feel free to step outside of their professional identity, to share doubts and new ideas, and search for ways forward outside of established frameworks.

The annual gatherings organized for over two decades by the Tällberg Foundation have evolved into an innovative global Forum characterized by an atmosphere of openness, honesty, warmth and creativity. Every year, leaders from all over the world and from various sectors of society gather to talk about and reflect upon the challenges and opportunities that stem from global interdependence.

The Tällberg Forum acts to stimulate the conversation on, and design solutions to the problems of our times in order to foster new thinking and solutions. People from business and finance meet people from politics, science, international organizations and civil society on equal terms, and not as stakeholders. They come to talk, listen, reflect, question their assumptions, and gain the new insights that give them new responsibilities. For many, the Tällberg Forum is viewed as a natural extension of a highly respected Swedish tradition of internationalism, progress, intellectual curiosity, mediation and sustainability.

The film is an overview of the Tällberg Forum 2007, published by Tyler Brule at Monocle.com. Monocle is a monthly magazine with original coverage in global affairs, business, culture and design along with a web-based broadcast component with news reports and mini-documentaries.

http://www.tallbergfoundation.org/ABOUTUS/AbouttheT%C3%A4llbergForum/tabid/1267/Default.aspx 


"How on earth can we live together?" is the over-arching theme of the Tällberg Forum

The Tällberg Forum gives leaders – and their families – from all over the world and from all sectors of society to convene for a few days in a beautiful environment to reflect and converse on the over-arching theme: “How on earth can we live together?” 

The Forum is characterized by humanism, systems thinking and principled pragmatism. The Tällberg Forum makes no declarations and issues no recommendations. Its impact lies in the many initiatives and ideas that the participants bring back home and integrate in their actions in their own environment.

It is the combination of place, people and process that makes the Tällberg Forum unique. The informality and beauty of the place has a decisive influence. The environment, in which people can freely, unpretentiously and creatively converse, conveys harmony and aesthetics.

The people are chosen to provide diversity of men and women, of old and young, and a true mix of nationalities from all continents: Politicians, global corporate leaders, thought leaders, artists, clerics, civic leaders and NGO leaders. Many participants bring their families and this strongly influences the atmosphere.

The process and program allow for each participant to combine sessions, talks and discussions with excursions, walks in the woods or spending time with their family. The conference program is a blend of plenary sessions, workshops and conversations that carry on in smaller settings where participants can explore in more depth subjects of their choice. Cultural performances and nature walks are an integral part of the program, as they help open minds and stimulate ideas.

We live in a world of transition, where the need for new ideas and strategies to deal with our common challenges is greater than ever. The Tällberg Forum is a contribution in this direction.

http://www.tallbergfoundation.org/Default.aspx?tabid=165
  

open source knowledge sharing with UNStudio

UNStudio launches open source knowledge sharing - Unique knowledge developed
through building practice is the new core value of architecture.

In June this year UNStudio will launch the new organisation of its practice as an open-source knowledge-based practice operating projects around four specialised Knowledge Platforms.

As part of the reorganisation of the studio a new interactive online knowledge platform will be launched, aimed at facilitating the open exchange of knowledge, with the ultimate goal of introducing and encouraging the expansion from a collaborative to a co-creative working model for architecture.

Whilst the architect will continue to design his or her own projects, the practice of architecture needs to adjust, to gather, edit and apply co-creative intelligence in order to create responsive architecture that is more integral, more holistic, more responsible and more intelligent.

Ben van Berkel:

From the outset at UNStudio we have continually reexamined and reevaluated our practice, with the result that at certain key moments we have recognised the need for extensive reorganisation. Now, once again, the challenging climate within the profession today has in turn challenged us to take a close look and to rethink our organisational model with the ultimate aim of improving our architecture and ensuring its relevance within contemporary conditions. However, finding ourselves unable to locate a relevant model from within the profession, we became fascinated by the new initiatives put in place by online start-up companies – such as social networking firms – who have moved from an old economy to a far more innovative economy which celebrates communication, open exchange and co-creation. Believing that architecture can benefit greatly from adopting and adapting such an approach, in recent years we have set about the reorganisation of our studio into an open knowledge-based practice.

KNOWLEDGE PLATFORMS – AN INTERNAL MODEL
Since the founding of the practice, UNStudio has been developing knowledge as a result of combining the design and building of projects with an active participation in architectural theory. Following on a continued interest in geometry, digital production, material effects and attainable design solutions, this communal knowledge led to the introduction of four distinct Knowledge Platforms to the studio. Whilst the primary objective of our project teams is to deliver the ‘result’ of architectural thinking (buildings, plans, designs), the objective of the Knowledge Platforms is to distill knowledge from within the practice of architecture in order to propel design thinking and innovation.

NStudio’s Knowledge Platforms have been developed into self-organised groups, operating as cross-linked platforms within the studio. Instead of being organised as processes which run parallel to the design work, the Knowledge Platforms form an integrated part of the practice. Organising the Platform-project relationship in an interactive, non-linear manner allows us to effectively combine research with practice, cross-fertilise innovative solutions and discover new approaches to architecture.

The dual goals of the Knowledge Platforms are facilitating the exchange of knowledge within the studio and expanding UNStudio’s range of co-creation with our current and future collaborators. Each Platform, within its specific topic—Sustainability, Organisation, Materials, or Parametrics—is mandated to assemble our project knowledge and produce new knowledge through internal initiatives and innovative external collaborations.

Caroline Bos:

Our primary goal with the introduction of the Knowledge Platforms is to improve our buildings though the creation of new dynamic ways of working and to develop expertise through knowledge-based strategies and working models. People who join UNStudio can choose a platform that they would like to participate in – and perhaps after a few years they will join 2 or 3 platforms – with the result that they can eventually become specialists in very specific areas of design. In this way we can create highly concentrated knowledge exchange with individuals within the company and thereby create more dynamics and more innovation in the creative process of working with knowledge in design.

KNOWLEDGE SHARING – FROM NODES TO KNOWLEDGE, FROM NETWORK TO MESHWORK
Equally essential to developing UNStudio’s in-house knowledge however is the mutual value to be gained by the exchange of expertise with external collaborators. Ben van Berkel: “It is essential to continuously gather information and to make this knowledge available when engaging in dialogues with other specialists with whom we collaborate, both within and outside of the profession.”

The recent expansion of the profession of architecture has meant that architectural collaborations have now become increasingly wide and varied, encompassing both the sciences and cultural fields. Similarly today’s climate calls for an architecture that is responsive to environmental, political, social, cultural and economic requirements and as such there is call for an architecture that contains all possible layers of knowledge.

In order to initiate and encourage this exchange of knowledge, in June this year UNStudio will introduce a new interactive online platform that will share information about our current research projects and the knowledge garnered from these, whilst actively inviting contributions from collaborators and interested parties. The goal of the online Knowledge Platform is to create a podium where UNStudio can become more open with its expertise and thereby share knowledge on a wider scale. In so doing it is our aim to encourage a co-creative approach to architecture; one which intensifies knowledge and ultimately results in a more responsive architecture born of innovation through co-creation.

ONLINE KNOWLEDGE PLATFORM – THE FIRST STEP
UNStudio’s interactive online knowledge sharing platform is currently in the final design stages, however in the meantime, we have updated and upgraded our research pages with new information about current research projects generated by our four internal Knowledge Platforms. Also integrated in the updated pages is a ‘contribution’ function, which allows readers to actively participate and share their own references and related expertise, rate the usefulness of information, find related knowledge and share posts on social networks.
In addition a ‘Platform Dialogue’ section has been added in which video content relaying discussions and events carried out by UNStudio’s Knowledge Platforms can be viewed online.

Full Article Via http://architecturelab.net/2013/04/unstudio-launches-open-source-knowledge-sharing/

Diller (at) GSD

Diller (at) GSD
#Women-in-Architecture

Zaha (at) GSD

Zaha (at) GSD

Published on Mar 18, 2013

Zaha Hadid Architects (London) has become a world leader in urbanism, architecture and design through projects that integrate man-made systems and preexisting topography. The practice has benefited from its collaborations with leading artists, designers, engineers, and clients, and from its work with state-of-the-art technologies. The MAXXI: National Museum of 21st Century Art in Rome, BMW Central Building in Leipzig, Guangzhou Opera House, and Aquatics Centre for the London 2012 Olympics are salient examples of the firm's dynamic architectonic sensibility. Current projects include the KAPSARC Research Centre in Riyadh, High-Speed train stations in Naples and Durango, an office tower in Marseille, and urban master plans in North Africa, Asia, and the Middle East. Zaha Hadid was awarded the Pritzker Architecture Prize in 2004.
#Women-in-Architecture http://architecturelab.net/2013/03/lecture-by-zaha-hadid-at-harvard-gsd/

Learning from Laureates

Learning from Laureates

Thom Mayne, FAIA, the 2013 winner of the AIA Gold Medal winner and 2005 Pritzker Prize laureate, sat down (via Skype) with 2013 Pritzker Prize Laureate, Toyo Ito, Hon. FAIA. The SoCal Sculpturalist reached out across the Pacific to talk to Tokyo's post-Metabolist master about his career in design and the changing role of architectural practice in a post-digital age.

Mayne describes Ito as an "architect's architect"—and in this exclusive video for ARCHITECT, the two discuss what that means.

  Learning from Laureates from ARCHITECT Magazine on Vimeo.

AKAA shortlisted Projects

Introduction video to the 2013 Aga Khan Award for Architecture shortlist+vids of 2010

An Impact : OER

OpenStax College

Toyo Ito :: 2013 Laureate

http://www.pritzkerprize.com/2013/announcement

Biography

Toyo Ito was born on June 1, 1941 in Keijo (Seoul), Korea (Japanese). His father was a business man with a special interest in the early ceramic ware of the Yi Dynasty of Korea and Japanese style paintings. He also was a sports fan of baseball and golf. In 1943, Ito, his mother, and his two elder sisters moved back to Japan. Two years later, his father returned to Japan as well, and they all lived in his father’s hometown of Shimosuwa-machi in Nagano Prefecture. His father died in 1953, when he was 12. After that the rest of family operated a miso (bean paste) making factory. At present, all but one sister who is three years older than Ito, have died.
Ito established his own architecture office in 1971, and the following year he married. His wife died in 2010. They had one daughter who is now 40 and is editing Vogue Nippon.
In his youth, Ito admits to not having a great interest in architecture. There were several early influences however. His grandfather was a lumber dealer, and his father liked to draw plans for his friends’ houses. When Ito was a freshman in high school, his mother asked the early Modernist architect, Yoshinobu Ashihara, who had just returned to Japan from the U.S. where he worked at Marcel Breuer’s office, to design their home in Tokyo.
He was in the third grade of junior high school when he moved to Tokyo and went to Hibiya High School. At the time, he never dreamed he would become an architect—his passion was baseball. It was while attending the University of Tokyo that architecture became his main interest. For his undergraduate diploma design, he submitted a proposal for the reconstruction of Ueno Park, which won the top prize of the University of Tokyo.
Toyo Ito began working in the firm of Kiyonori Kikutake & Associates after he graduated from Tokyo University’s Department of Architecture in 1965. By 1971, he was ready to start his own studio in Tokyo, and named it Urban Robot (Urbot). In 1979, he changed the name to Toyo Ito & Associates, Architects.
He has received numerous international awards, including in 2010, the 22nd Praemium Imperiale in Honor of Prince Takamatsu; in 2006, The Royal Institute of British Architects’ Royal Gold Medal; and in 2002, the Golden Lion for Lifetime Achievement for the 8th Venice Biennale International Exhibition. All of his honors are listed in the fact summary of this media kit. He has been a guest professor at the University of Tokyo, Columbia University, the University of California, Los Angeles, Kyoto University, Tama Art University, and in the spring semester of 2012, he hosted an overseas studio for Harvard’s Graduate School of Design, the first in Asia.
His works have been the subject of museum exhibitions in England, Denmark, the United States, France, Italy, Chile, Taiwan, Belgium, and numerous cities in Japan. Publications by and about him have appeared in all of those countries and more. He holds Honorary Fellowships in the American Institute of Architects, Royal Institute of British Architects, the Architecture Institute of Japan, the Tokyo Society of Architects and Building Engineers, and the American Academy of Arts and Sciences.
One of his first projects in 1971 was a home in a suburb of Tokyo. Called “Aluminum House,” the structure consisted of wooden frame completely covered in aluminum. Most of his early works were residences. In 1976, he produced a home for his sister, who had recently lost her husband. The house was called “White U” and generated a great deal of interest in Ito’s works. It was demolished in 1997. Of most of his work in the 1980’s, Ito explains that he was seeking to erase conventional meaning from his works through minimalist tactics, developing lightness in architecture that resembles air and wind.
He calls the Sendai Mediatheque, completed in 2001 in Sendai City, Miyagi, Japan, one of the high points of his career. In the Phaidon book, Toyo Ito, he explains, “The Mediatheque differs from conventional public buildings in many ways. While the building principally functions as a library and art gallery, the administration has actively worked to relax divisions between diverse programs, removing fixed barriers between various media to progressively evoke an image of how cultural facilities should be from now on. This openness is the direct result of its simple structure, consisting of flat concrete slabs (which are honey-comb steel plates with concrete) penetrated by 13 tubes. Walls on each floor are kept to an absolute minimum, allowing the various functions to be freely distributed throughout the open areas between the tubes.“
In delivering the Kenneth Kassler lecture at Princeton University in 2009, Ito explained his general thoughts on architecture:
“The natural world is extremely complicated and variable, and its systems are fluid – it is built on a fluid world. In contrast to this, architecture has always tried to establish a more stable system. To be very simplistic, one could say that the system of the grid was established in the twentieth century. This system became popular throughout the world, as it allowed a huge amount of architecture to be built in a short period of time.
However, it also made the world’s cities homogenous. One might even say that it made the people living and working there homogenous too. In response to that, over the last ten years, by modifying the grid slightly I have been attempting to find a way of creating relationships that bring buildings closer to their surroundings and environment.” Ito amends that last thought to “their natural environment.”
In the fashionable Omotesando area of Tokyo, Ito designed a building in 2004 for TOD’S, an Italian shoe and handbag company, in which trees provided a source of inspiration. The Ito office provides its own description of the project:
“Trees are natural objects that stand by themselves, and their shape has an inherent structural rationality. The pattern of overlapping tree silhouettes also generates a rational flow of forces. Having adapted the branched tree diagram, the higher up the building, the thinner and more numerous the branches become, with a higher ration of openings. Similarly, the building unfolds as interior spaces with slightly different atmospheres relating to the various intended uses.
Rejecting the obvious distinctions between walls and opening, lines and planes, two- and three dimensions, transparency and opaqueness, this building is characterized by a distinctive type of abstractness. The tree silhouette creates a new image with a constant tension generated between the building’s symbolic concreteness and its abstractness. For this project, we (Ito and his staff) intended to create a building that through its architectural newness expresses both the vivid presence of a fashion brand and strength in the cityscape that will withstand the passage of time.”
After designing critically-acclaimed buildings like Sendai Mediatheque, Ito became an architect of international importance during the early-2000s leading to projects throughout Asia, Europe, North America and South America. Ito designed the Main Stadium for the 2009 World Games in Kaohsiung and the under-construction Taichung Metropolitan Opera House, both in Taiwan. In Europe, Ito and his firm renovated the façade of the Suites Avenue Apartments with striking stainless steel waves and, in 2002, designed the celebrated temporary Serpentine Pavilion Gallery in London’s Hyde Park. Other projects during this time include the White O residence in Marbella, Chile and the never-built University of California, Berkeley Art Museum/Pacific Film Archive in California.
Perhaps most important to Ito, however, are the projects in his home country, made more pressing by the earthquake and tsunami of March 11, 2011. The disaster spurred Ito and a group of other Japanese architects to develop the concept of “Home-for-All” communal space for survivors. As Ito says in Toyo Ito - Forces of Nature published by Princeton Architectural Press:
“The relief centers offer no privacy and scarcely enough room to stretch out and sleep, while the hastily tacked up temporary housing units are little more than rows of empty shells: grim living conditions either way. Yet even under such conditions, people try to smile and make do…. They gather to share and communicate in extreme circumstances – a moving vision of community at its most basic. Likewise, what we see here are very origins of architecture, the minimal shaping of communal spaces.
An architect is someone who can make such spaces for meager meals show a little more humanity, make them a little more beautiful, a little more comfortable.”
For Ito, the fundamental tenets of modern architecture were called into question by “Home-for-All.” He adds, “In the modern period, architecture has been rated highest for its originality. As a result, the most primal themes—why a building is made and for whom—have been forgotten. A disaster zone, where everything is lost offers the opportunity for us to take a fresh look, from the ground up, at what architecture really is. ‘Home-for-all’ may consist of small buildings, but it calls to the fore the vital question of what form architecture should take in the modern era—even calling into question the most primal themes, the very meaning of architecture.”
The Pritzker Jury commented on Ito’s direct expression of his sense of social responsibility citing his work on “Home-for-All.”
Recently, Ito has also thought of his legacy, as apparent by the museum of architecture that bears his name on the small island of Omishima in the Seto Inland Sea. Also designed by Ito, the museum opened in 2011 and showcases his past projects as well as serving as a workshop for young architects. Two buildings comprise the complex, the main building “Steel Hut” and the nearby “Silver Hut,” which is a recreation of the architect’s former home in Tokyo, built in 1984.

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http://www.pritzkerprize.com/2013/biography

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