Posts tagged with "Architectural Review":

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W Awards reveal winners of Jane Drew and Ada Louise Huxtable Prizes

Pakistan’s first female architect, Yasmeen Lari, and Princeton University’s Beatriz Colomina have been awarded the top honors at this year’s W Awards. Formerly known as the Women in Architecture Awards, the program is now in its eighth year and celebrates women who’ve impacted the industry beyond just where they work. The Architectural Review and Architects’ Journal, AN’s counterparts in the U.K., helped select Lari and Colomina as the recipients of the 2020 Jane Drew Prize for Architecture and the Ada Louise Huxtable Prize for Contribution to Architecture, respectively.  Born in 1941, Lari studied design at the Oxford School of Architecture prior to moving back to Pakistan and starting her own firm, Lari Associates, in Karachi. Her most famous works include the Taj Mahal Hotel, the Finance and Trade Center, and the Pakistan State Oil House. Though she retired from the field 20 years ago, Lari has continued to take on humanitarian and historical conservation projects throughout her native country. On Lari’s five decades of work, The Architectural Review editor Manon Mollard said:  “From landmark buildings in Karachi to crisis shelters and community centres made of earth and bamboo, Yasmeen Lari’s work has shown that grand schemes are not the only way to make an impact—that architecture that uplifts, provides dignity to the marginalized, can make real and meaningful change.” Colomina, an architecture historian and theorist, began teaching in her native country of Spain after graduating from the Universidad Politécnica de Barcelona. Now a globally-celebrated educator, she’s best-known for starting Princeton University’s Program in Media and Modernity as well as for serving as a long-time professor and director of Graduate Studies in the architecture school. She’s also the author of multiple books including, X-Ray Architecture, Manifesto Architecture: The Ghost of Mies, Are We Human? Notes on an Archeology of Design (based on the 2016 Istanbul Design Biennale), and Privacy and Publicity.  “Beatriz Colomina’s rich and rigorous career has shaped the way we think about architecture, right back to Sexuality & Space—still a much-needed text in architectural education,” said Mollard. “Her writing, her curation, and her teaching have been part of the backbone of architectural theory for many years, and will continue to inspire in years to come.”  Last year’s winners of the Jane Drew and Ada Louise Huxtable prizes included Liz Diller and Swiss photographer Hélène Binet, respectively, while Sheila O'Donnell was named Architect of the Year. This year’s winners of The Moira Gemmill Prize for Emerging Architecture and the MJ Long Prize for Excellence in Practice will be announced following a series of presentations in March from eight shortlisted women.
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Women in Architecture awards shortlist announced; Liz Diller wins 2019 Jane Drew Prize

The Architects’ Journal and The Architectural Review have begun ramping up towards their 2019 Women in Architecture awards, releasing their Architect of the Year and Moira Gemmill Prize shortlists. Elizabeth Diller of Diller Scofidio + Renfro (DS+R) took home the 2019 Jane Drew Prize, a career recognition of architects who have raised the profile of women in the profession. DS+R’s wide-ranging body of work and the consistently high level of finish and attention to detail in their projects were singled out in particular. “It is a great honor to be awarded the Jane Drew Prize 2019,” said Diller, “and to join such an amazing group of women that came before. I'm very touched.” French-Swiss architectural photographer Hélène Binet, who has contributed to the visual canon for 25 years with her heady photos that capture light, shadow, and materiality in sensitive interplays, was awarded the 2019 Ada Louise Huxtable Prize. The prize recognizes those in architecture-adjacent fields who have contributed to the advancement of the field and built environment. “It is wonderful to be put forward for this award,” said Binet, “and it is an honor to be among such wonderful ladies.” The combined Architect’s Journal and Architectural Review jury also released their shortlists for both the 2019 Architect of the Year award and the Moira Gemmill Prize for Emerging Architecture. For Architect of the Year, the finalists are as follows:
  • Eva Prats, cofounder of Flores & Prats, for Casal Balaguer Cultural Centre in Palma de Mallorca, Spain by Flores & Prats and Duch-Pizà
  • Sheila O’Donnell, founding director of O’Donnell + Tuomey, for the Central European University in Budapest, Hungary, by O’Donnell + Tuomey
  • Ellen van Loon, partner at OMA, for the Qatar National Library in Doha, by OMA
  • Carme Pigem, co-founder of RCR Arquitectes, for De Krook Library in Ghent, Belgium, by RCR Arquitectes and Coussée & Goris Architecten.
The Moira Gemmill prize, named for the late Moira Gemmill, director of design at the V&A Museum, comes with a $13,000 award. The prize recognizes exemplary contributions of women architects under the age of 45 for their portfolio of completed works. Finalists include:
  • Lina Ghotmeh of Lina Ghotmeh Architecture, based in Paris, France
  • Irene Pérez of TEd’A Arquitectes, based in Palma de Mallorca, Spain
  • Xu Tiantian of DnA, based in Beijing, China
  • Jeannette Kuo of Karamuk Kuo, based in Zürich, Switzerland
The judging panel will convene at the March 1 AJ/AR Women in Architecture Luncheon at the Savoy in London to announce the winners in full.
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New Reyner Banham monograph takes readers into the heady times of the '60s provocateur

Thinking of Todd Gannon’s Reyner Banham and the Paradoxes of High Tech as simply an excellent biography of one of the 20th century’s most celebrated writers on architecture would be quite off base. It is simply too big and heavy (at nearly 5 pounds), too lavishly produced (by the Getty), and too all-encompassing in its scholarship to join ranks with its intellectual rivals. Banham was well known as the bearded, hard-driving scourge of the British establishment, sitting naked and guru-like in François Dallegret’s portrayal of a “standard-of-living package,” and lolling through Los Angeles’ four ecologies at the wheel of an open-topped muscle car in the '60s. Banham was a provocateur with a pedigree—he’d been Nikolaus Pevsner’s protégé and a contributing editor at the prestigious Architectural Review. “Peter,” as he was known to friends James Stirling and Richard Rogers, came into his own as the champion of a wave of architects and artists who had grown up sharing the outlook of Look Back in Anger playwright John Osborne, and were eager to topple long-held architectural precepts. As such, Gannon’s book is an encyclopedic recounting of the growth of England’s architectural culture during Banham’s purview: its advocates, its internal debates, its flashes of brilliance, and its turbulent (though theoretically harnessed) explorations. If one wishes to understand the gestation of this important movement in modern architecture, there are more revelations, more “gotcha’s,” and more keen observations (with Gannon as guide) than one is likely to find in a decade-long subscription to Architectural Review. As a bonus, it’s even fun to read! Gannon has clearly mastered the art of serving up colorful prose without compromising either content or veracity, which is a welcome and indispensable attribute in this era of jargon and political introspection. In the book, Gannon highlights the conceptual bonds that united a band of rebellious architects and links their ideas to both the designs they produced and the philosophy they espoused, in order to create what may well be the definitive history of architecture in the age of Banham. Loaded with original research and structured in apt and revealing chapters, Reyner Banham and the Paradoxes of High Tech delivers a convincing mix of anecdotes and informative images in a graphically rewarding format. Measured and precise, with a jaunty sense of discovery (you can almost see the high fives), Gannon’s text expands into detailed descriptions of the nooks and crannies of complex spaces such as those at Stirling’s Olivetti Training School in Haslemere. He then moves into a discussion of the social forces of England in the 1960s before displaying with appealing modesty the hundreds of sources girding his work. This is a vastly entertaining project. One can feel the glee with which Gannon deconstructs morsels like the Smithsons’ Soho house at Colville, where “the project’s insistent symmetries, proportional rigor, and cheeky axial relationships appear to have been devised with a mischievous wink in the direction of those who were paying attention. The axial comedy is best observed in the basement, where the toilet, lit from above by the south-facing bench-cum-clerestory is honorifically aligned with both the bathroom door and the prominently placed drain pipe centered on the opposite wall.” The author also notes and quotes Banham’s quip that “if it isn’t modern nowadays it isn’t architecture anymore, but archaeology, cowardice, or fancy dress.” These are sentiments that seem particularly apt here in the U.S. 60 years later. Like The Devil in the White City, Erik Larson’s account of the Chicago World’s Fair and Louis Sullivan’s role in it, Gannon plunges the reader deep into the subculture that fed Banham’s thirst for a radical, nuts-and-bolts architecture. Thus, for Gannon, Banham seems more like an “inspiration” than a “topic.” Getting into his head—rather than tracing his long shadow and seeing things as Banham might have seen them—is a remarkable exercise in its own right. Here, we have Gannon stalking Banham, then pouncing: “There is a stream of English fiddlers-with-cars, builders-of-boats, cannibilizers and people who always seem to have another way of using a working part from the one that you expect. In recent years, the originality of the Smithsons, Cedric Price, Norman Foster, and the Rogers team seem to have had far more to do with the latter instinct.” Gannon follows this up with a signature clip from Banham’ ripest prose: “A properly set up standard of living package, breathing out warm air along the ground…radiating soft light and Dionne Warwick in heart-warming stereo, with a well-aged protein turning in an infra-red [sic] glow in the rotisserie, and the ice-maker discreetly coughing cubes into glasses on the swing-out bar.” In this way, we see Gannon, the architect, viewing Banham as a lens rather than as a subject and leading us, his readers,  through the thickets of his evolution. For Gannon, the signal preoccupations of his subject can be best understood as a linked series of insights, from The Architecture of the Well-tempered Environment to Los Angeles: The Architecture of Four Ecologies, which he decodes with forensic diagrams and text. What is remarkable is that the threads of Banham’s propositions can be spliced so invisibly into an expanded narrative that embraces contemporary as well as historic issues. It is humbling to circle back to Archigram’s city-building exercises, or to relish the newfound passion for a smart city, only to discover that Banham’s pioneering work had been there—and done that—50 years ago. That is why, for this architect, and I expect many more, Gannon’s work is far more than a trip down memory lane. It offers us a chance to renew our vows.
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Women in architecture winners announced by Architects' Journal and The Architectural Review

The Architectural Review and The Architect’s Journal have jointly announced their 2018 Women in Architecture award winners, with Peruvian architect Sandra Barclay taking home the Architect of the Year award, and Paraguayan architect Gloria Cabral receiving the Moira Gemmill Prize for Emerging Architecture. Recognizing exemplary, recently completed projects, the Architect of the Year award for 2018 was given to Barclay for her work on the Paracas Museum in Paracas, Peru, finished in 2016 by Barclay & Crousse Architecture. The squat archaeological museum’s predecessor was destroyed in an earthquake in 2017, and Barclay’s replacement builds upward with rotated spaces, creating a geometry reminiscent of the patterns found in native Paracas textiles. Clad in a red pozzolan cement, the museum seems to fade into the surrounding Paracas Desert while also standing apart from it, blending the form of ancient ruins with new construction. The judges felt the same way, saying, “Aware of the lack of control onsite and limited resources, the architects responded to the lack of context with a design that is both robust and simple, yet powerful, and even its man-made imperfection adds value to the building”. Cabral, a partner at Gabinete de Arquitectura, has won the Moira Gemmill Prize for Emerging Architecture, a $13,700 prize fund created to honor Moira Gemmill, the late director of design at London's Victoria and Albert Museum (V&A). The judges cited Cabral’s innovative use of cheap, ubiquitous local materials to create novel and often-times more efficient forms. Cabral has been something of an up-and-coming name in the architecture world, having been taken under the wing of Peter Zumthor as Rolex’s 2014 cohort of protégés, and later winning a Golden Lion at the 2016 Venice Biennale. According to the Moira Gemmill Prize judges, ‘Beyond her deep understanding of materials and construction, Cabral showed a sensitive appreciation of the life and use of the buildings she designs. Her commitment is extraordinary and her passion is infectious.” More information about the winners and the shortlist for each prize can be found here.
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Denise Scott Brown wins Jane Drew Prize, Rachel Whiteread given Ada Louise Huxtable Prize

Denise Scott Brown has been awarded the Jane Drew Prize by the Architects' Journal (AJ) and its sister publication, the Architectural Review (AR). In 1991, Scott Brown was not included in the awarding of the Pritzker Prize that went to her husband, Rober Venturi, despite her integral role in the couple's firm, Venturi Scott Brown and Associates. More recently, in 2013, the Pritzker awarding committee was pressured to reexamine their decision twelve years prior and acknowledge Scott Brown. Alas, they did not budge. "There is an irony in it because I knew Jane Drew. I hold very different opinions from the ones she held," said Scott Brown speaking to Laura Mark in the Architects' Journal (AJ). "When we met over the years sometimes it was up and down," Scott Brown added. "I gave a lecture once and I said something about Walter Gropius and there was a lot of shouting from the back of the room and it was Jane Drew. She was quite a down right woman and I’m a down right woman. She might mind that I have been given the prize—but I don’t. I’m very happy that people want me to have a prize and that she should have a prize named after her." Scott Brown received this year's Jane Drew award for her contributions to architecture which include built works and research, notably the book Learning from Las Vegas, which was published in 1972 and co-authored by Venturi and Steven Izenour. Scott Brown and Venturi are also recognized as pioneers of the Postmodernist movement. In the wake the Pritzker jury refusing to change their position in 2013, the American Institute of Architects (AIA) amended a rule that stipulated only individuals could claim its Gold Medal prize. Scott Brown and Venturi were then jointly awarded the AIA Gold Medal last year. The AJ and AR awarded the Ada Louise Huxtable Prize to artist Rachel Whiteread. The award recognizes individuals working in the wider architectural industry who have made a significant contribution to architecture and the built environment. Whiteread is noted for winning the 1993 Turner Prize, her work with architects (such as Caruso St John Architects for the UK Holocaust Memorial International Design Competition), and her participation on the RIBA Stirling Prize 2016 jury. However, while such awards are good news for women in the industry, a recent survey has found that there is still much work to be done. Aside from awarding the Jane Drew Prize, the AJ and AR, as part of its annual Women in Architecture survey, found that female architects working in the U.K. earn $68,900 less than their male equivalents. The pay gap has reportedly widened by $52,700 over the past two years. The survey results also outlined that pressure to not have children and sexual discrimination were still prevalent. The AR also announced its Women in Architecture Awards 2017 shortlists, which includes the Architect of the Year Award and the Moira Gemmill Prize for Emerging Architecture.
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Fact or fiction? The Architects' Journal and Architectural Review reported to go out of print

A shocking report today that, after 120 years, British architecture publications Architects' Journal and Architectural Review will go out of print in the next 18 months surprised many in the architecture and publishing worlds. One insider tells AN that, at least for Architectural Review, that is just a rumor: "the situation is messy, but AR will not cease in print for the foreseeable future, for example 12 to 18 months. It is by no means definite that it will go digital unless by popular demand of subscribers, which seems highly unlikely." The fate of Architects' Journal print editions remains to be seen.