The house is one of the most common architectural typologies and has been reinvented over and over throughout history. Whether they are adaptations of the local vernacular to protect against a harsh climate, or experimental, quick-to-be-demolished single-family homes found across Japan, houses have always been fertile playgrounds for architects, status symbols, design objects, dwellings, and hurdles for urban planners. From now until November 9, the Princeton University School of Architecture will host 44 Low-Resolution Houses, a public exhibition in the North Gallery that attempts to quantify what makes a house a house. The show brings together 44 different architecture studios, each of them contributing a unique model of a “low-resolution” home. These houses reduce homes to the common elements that can be found throughout vastly different structures such as pitched roofs and typical massings, though some are scaled back to simple geometric shapes. All of the houses were removed from any context and materiality and were oriented north to enable an objective comparison between each model. Each home is treated as an individual object, to be evaluated solely on form, and many resemble existing or theoretical projects (keep your eyes peeled for a triangular model of WORKac’s take on the Earthship). All of the models have been elevated and appear to “float” against a black curtain bearing the name of the architects responsible. As part of the prompt, each team contributed a construction element, material, or product that would best represent their home at full scale. The full list of contributing offices is as follows: “6a, Adamo-Faiden, Angela Deuber Architect, Atelier Barda, Atelier Bow-Wow, Besler & Sons, Brandlhuber+, Bruther, Bureau Spectacular, architecten de vylder vinck taillieu in collaboration with Joris Van Huychem, Edition Office, Ensamble Studio, Fake Industries Architectural Agonism in collaboration with Aixopluc, fala atelier, First Office, GAFPA in collaboration with Stabico Ingenieurs, OFFICE Kersten Geers David Van Severen, Go Hasegawa and Associates, Hans Tursack, HHF and Ai Weiwei, Independent Architecture, Johannes Norlander Arkitektur, Johnston Marklee, The LADG, Lütjens Padmanabhan Architekten, MAIO, Monadnock, MPdL Studio, MOS, New Affiliates, OFF-OFF, Outpost Office, PARA Project, Pascal Flammer, Paul Preissner Architects, Pezo von Ellrichshausen, Point Supreme, PRODUCTORA, Stan Allen Architect, Tatiana Bilbao Estudio, Tato Architects, T+E+A+M, Tham & Videgård Arkitekter, and WORKac.” The show was curated by associate professor of the Princeton University School of Architecture, Michael Meredith. MOS designed the exhibition space and Studio Lin contributed the graphic design. The fashion elements were designed by the New York-based Slow and Steady Wins the Race.
Posts tagged with "Princeton University School of Architecture":
Princeton Professor V. Mitch McEwen has been named the new curator of IdeasCity, a collaborative and creative platform run by the New Museum in New York City that “addresses challenges and opportunities arising in urban reconstruction,” according to the initiative’s website. McEwen will be working on the IdeasCity biennial, leading a platform for designers, artists, technologists, and policymakers to collaborate on ideas and solutions in exploring the future of cities. According to a statement from the New Museum, McEwen “will steer the framework for the 2018-19 cities and launch an open call for cities around the world to apply for the 2020-21 cycle." McEwen is the principal and cofounder of A(n) Office, a Detroit- and New York-based studio that explores topics of architecture and exhibition with partner Marcelo López-Dinard. McEwen received grants from the Graham Foundation, the Knight Foundation, and the New York State Council on the Arts and has exhibited work as part of the U.S. Pavilion at the Venice Architecture Biennale, the Museum of Contemporary Art Detroit, and the Istanbul Design Biennial. In addition to holding an assistant professorship at Princeton University School of Architecture, McEwen has taught at the University of Michigan, and Columbia Graduate School of Architecture, Planning and Preservation. McEwen stated, “The New Museum, an institution founded by curators, has consistently advocated for artists as idea leaders. IdeasCity brings that ethos to the streets and a broader public to accelerate the kind of creative knowledge-sharing that opens new possibilities in our everyday lives. There’s a responsibility right now—at this seemingly precarious moment—to not be shy or afraid, but to be bolder than ever and make the most of the connections we have with each other.” McEwen tells AN that she is thrilled to collaborate with the New Museum team to curate the upcoming cycle of IdeasCity, which connects directly to the work she does as a designer and professor of architecture who “engages with the intersection of technology, ecology, urban culture, and spatial politics.” According to Princeton SoA’s website, “McEwen Studio projects in Detroit have produced a series of operations on houses previously owned by the Detroit Land Bank Authority. These include a combined residence and flower incubator for an engineer at 3M, a strategy for 100 houses selected by the City of Detroit to densify the neighborhood of Fitzgerald, and an award-winning repurposing of a balloon-frame house titled House Opera.” McEwen begins the new position this month.
ACADIA, or the Association for Computer Aided Design in Architecture, established the ACADIA Awards of Excellence to recognize outstanding individuals and practices that think critically about the impact and possibilities of computer-aided design. This year, the ACADIA Awards recipients, including Mónica Ponce de León and Oyler Wu Collaborative, will present their work at the conference titled Recalibration: On Imprecision and Infidelity at the Universidad Iberoamericana in Mexico City from October 18–20. Dean of Princeton University School of Architecture Mónica Ponce de León won the Teaching Award of Excellence. Ponce de León is a Venezuelan-American architect who is also a renowned educator. She is the founding principal of MPdL Studio, which has officesin New York, Boston, and Ann Arbor. Prior to her deanship at Princeton, she was dean of University of Michigan’s Taubman College and a professor at Harvard’s Graduate School of Design (GSD). The awards committee commended her for the “integration of digital technologies into architectural education.” Jenny Wu and Dwayne Oyler, partners at Oyler Wu Collaborative, were awarded with the Digital Practice Award of Excellence. The L.A.-based, award-winning firm is widely recognized for its expertise in material research and digital fabrication. The firm is known for projects such as The Exchange in Columbus, IN, the 2013 Beijing Biennale installation named The Cube, and their installations and pavilions with SCI-Arc. The partners are both currently teaching at SCI-Arc and Harvard GSD. Other awards included the Innovative Academic Program Award of Excellence, given to the Institute of Advanced Architecture Catalonia; the Innovative Research Award of Excellence bestowed upon NVIDIA robotics researcher Dr. Madeline Gannon; and the Society Award of Excellence won by Association for Robots in Architecture co-founders Sigrid Brell-Cokcan and Johannes Braumann. Check out the complete list of winners here.
April 9–May 11, 2018 Exhibition Opening: April 9, 5–6pm Princeton University School of Architecture The Princeton University School of Architecture, Media + Modernity Program, Program in Latin American Studies, and Mellon Initiative announce the opening of LIQUID LA HABANA: ICE CREAM, RUM, WAVES, SWEAT AND SPOUTS curated by Beatriz Colomina, Ivan L. Munuera, and Bart-Jan Polman and designed by Diana Cristobal and KnitKnot Architecture. The exhibition research team includes Ingrid Brioso Rieumont, Gillian Shaffer and Eda Yetim. Graphic design by Fru*Fru. Architecture in La Habana, Cuba is usually understood from the point of view of colonialism, whether Spanish or North-American, Cold War politics, or tourist economies and ideologies. But it could also be seen as generating wholly new points of view – more fluid and less familiar. Liquid La Habana presents 5 different case studies from the late 19th century until today and challenges their common interpretations. The exhibition explores the ways in which these fluid projects of ICE CREAM, RUM, WAVES, SWEAT AND SPOUTS reshuffle social contracts, radically confronting ideas of modernity, society, economy, sexuality, privacy, diplomacy, aesthetics, geopolitics, race, and development.  Coppelia, the ICE CREAM parlor of 1966 that became a symbol of the new revolutionary society, is discussed as a laboratory in which the creation of a new species, the “Ubre Blanca,” a super cow that would produce more milk than any cow before, went hand in hand with international agreements and socioeconomic aspects.  Mies van der Rohe’s unbuilt 1957 project for a Bacardi Building in Santiago de Cuba is not presented as the work of an international architect that created a decontextualized object for promoting RUM, but for how it was closely tied to La Habana’s existing architecture and led several afterlives around the world, reshaping the architect.  The Malecón, La Habana’s 5 mile long sea walk begun in 1901, is an engineering work of both concrete and silicon, a Wi-Fi spot in which the notion of public space has been redefined by electronic WAVES and the public sphere has been extended through the paquete semanal (a weekly terabyte of digital information).  The Tropicana Night Club is not simply a glistening stage for tourist entertainment, but a place where the bodies in motion and SWEAT relocate the conception of political architecture in a simultaneously capitalist and socialist spectacle.  The National Schools of Arts deployed the sensuality of waterworks and forms, such as the so called “vulva” SPOUT, as a controversial architectural symbol of revolution.
Spanish architect Alejandro Zaera-Polo is filing a law suit against the current trustees of Princeton University, incumbent President Christopher L. Eisgruber, and Dean Kathleen Deignan. Founder of London and New York-based Alejandro Zaera-Polo & Maider Llaguno Architecture (AZPML), and Foreign Office Architects (now no longer practicing), Zaera-Polo is also the former dean of Princeton's School of Architecture.Eisgruber asked to Zaera-Polo to resign in 2014 after he allegedly did not credit work done by the university for his exhibition on facades and its catalog at that year's Venice Architecture Biennale, directed by Rem Koolhaas. [You can find coverage of the current 2016 Biennale here]
Now Zaera-Polo is claiming the university caused “substantial damage” to both his reputation and his firm, which subsequently led to him miss “lucrative and prestigious professional and academic opportunities.” According to BDOnline, Zaera-Polo alleges that President Christopher L. Eisgruber's insistence that he resign—which Zaera-Polo he described as “inexplicably urgent”—led to “false rumors of sexual or financial misconduct” being spread. “Moreover Eisgruber and Prentice acted prematurely, negligently and/or recklessly in a manner that seemingly confirmed the widespread, false, and damaging public rumors concerning [the] plaintiff," the papers read. "Defendants’ actions and failures to act have resulted in significant damage to plaintiff’s business and to his reputation, including the loss of lucrative and prestigious professional and academic opportunities." As a result, the Spanish architect is calling for “punitive damages” held against Eisgruber, Deborah Prentice (the current dean of the faculty), trustees, “John and Jane Does,” and 20 “other individuals who participated in, or were complicit with, the conduct complained of herein” (likely to be students and staff).The papers filed at Mercer County Court in Trenton, describe the event as “an action for breach of contract, breach of the implied covenant of good faith and fair dealing, tortious interference with prospective economic advantage, trade libel, and defamation.” In addition to this, Prentice reported the complaint to Koolhaas. Zaera-Polo, however, said that the work duly credited others in the footnotes of an academic version of the catalog. One anonymous source stated Zaera-Polo plagiarized Wikipedia. The papers also state: “Adding insult to injury, defendants have fostered a hostile environment toward plaintiff at Princeton. For example, Princeton relocated plaintiff to a shared office in a basement, contrary to Princeton’s policy granting full, senior professors individual offices, generally on the ground floor. Princeton hired an alternate lecturer on building facades (plaintiff’s expertise) and scheduled that course to conflict exactly with plaintiff’s course on the same subject. Princeton even failed to list plaintiff’s course in its course catalog during spring 2015.” Meanwhile Princeton University has said in a statement: “The university is aware that Professor Zaera-Polo has filed an action against it and others relating to the investigation and disposition of research misconduct claims asserted against him and to his resignation as Dean of the School of Architecture. As noted in the rules and procedures of the faculty, the ‘university is committed to high scholarly standards in the substance of research and to high ethical standards in the conduct of research’ and to the fair and unbiased adjudication of all misconduct complaints. “The university is confident that the officials and faculty members who investigated and adjudicated the claims against Professor Zaera-Polo did so fairly and in accordance with university policies and procedures. The university will defend its position in court, and looks forward to the successful resolution of these claims.”
BREAKING: Davidson and Ponce de Leon to Curate the U.S. Pavilion Exhibition in the 15th International Architecture Biennale in Venice
Call it the Floating City meets Motor City. The U.S. Department of State selected the Taubman College of Architecture and Urban Planning at the University of Michigan to organize the exhibition of the United States Pavilion in the 2016 Venice Architecture Biennale. Curators Cynthia Davidson and Monica Ponce de Leon take Detroit as their starting point. Out of the ashes of Motown and Ford comes an urban archetype that provokes the exhibition title: “The Architectural Imagination.” Much has been made of Detroit’s “ruin porn” and the pervasive blight that has transformed the city from a dense urban fabric to a patchwork. In Venice, “The Architectural Imagination” will present new ideas for sites in Detroit that ultimately have global application, each developed and explored by a select architectural team. As such, the city, which comes with a narrative of the hopes and fears of twentieth century urban America, might prove the model for a creative, resilient, and sustainable 21st century city. “Historically Detroit has been a place of invention from the Kahn brothers to Motown to techno,” explained Davidson. She noted that the city is a site of American ingenuity applicable to many cities, however underscored architecture as the critical component. “Architecture itself has an important role to contribute to any city through form,” she continued. “We should be speaking through architectural form not just urbanism. Detroit is a laboratory for rethinking typologies.” The organizers are forming a committee of advisors to select four sites in Detroit. A call for participant portfolios open to U.S. citizens and residents will go out in a couple of weeks, said Davidson. Davidson is executive director of the nonprofit Anyone Corporation, based in New York City, and editor of the international architecture journal, Log. Ponce de Leon, recently named next dean of Princeton University School of Architecture, is currently the dean of the Taubman College of Architecture and Urban Planning at the University of Michigan and principal of MPdL Studio.
Monica Ponce de Leon has been tapped as the next dean of Princeton University's School of Architecture. She will assume the prestigious role on January 1, 2016. "I am deeply honored by the trust that Princeton is placing upon me and I look forward to working with students and faculty in writing the next chapter in the history of the school," said Ponce de Leon in a statement. "Given that architecture plays a unique role in the construction of culture, at the intersection of the humanities, the sciences and the arts, the opportunities are enormous. I am excited to work with the School of Architecture and the leadership at Princeton to expand and deepen architecture's role in understanding and speculating on the challenges of our time." Ponce de Leon will be coming to her new gig from the Taubman College of Architecture and Urban Planning at the University of Michigan–Ann Arbor where she has been dean since 2008. Before that, she served on the faculty at the Harvard GSD for 12 years.