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Keep in touch with Architectural Education in Bournemouth and the students of architecture at the
Arts University Bournemouth.

Thursday, June 28, 2012

Prize Winners 2012

Sam Tuck: EMP Prize, nominee for Deans prize.




Richard Neale: EMP Prize Commendation.

exploded detail

assembled group

Christina Varvouni-Giatrak
ou: Course Prize, nominee for EMP prize.
concept drawing



salt condensing cladding

Warmbaby / diary

Warmbaby / diary

Monday, June 25, 2012

2012 Prizes



CONGRATULATIONS TO:

Sam Tuck: EMP Prize, nominee for Deans prize.
Richard Neale: EMP Prize Commendation.
Christina Varvouni-Giatrakou: Course Prize, nominee for EMP prize.
Andrej Keltos: Nominee for EMP prize

Sunday, June 24, 2012

Thursday, June 21, 2012

Renzo Piano: ‘Architecture is not frivolity’ | News | Architects Journal

Renzo Piano: ‘Architecture is not frivolity’


Renzo Piano, the architect behind the Shard in London, explains why it is important to try to change the perception of the profession
Last week you spoke at a parliamentary event with planning minister Greg Clark about the Shard. You began by saying architecture is a serious business. Why?
People sometimes believe architecture is a kind of frivolity, that it’s about shape, it’s about gesture. Recently, the story of the star architect has actually been disastrous because it is creating a sense of a profession in which form and gesture govern. I believe architecture is something that relies on long [time scales] and buildings – they stay there forever like forests, like rivers. It’s not like fashions that come and go.
12 years after its conception, the Shard is nearing completion. Would progress have been quicker without a planning inquiry at the start?
In this case [a planning inquiry] was quite welcome. [With Southwark and later with the Commission for Architecture and the Built Environment] we had a discussion and we got to prove the value of the scheme. I don’t dislike a bit of discussion. In the end, this is what makes you a bit more humble.
Do you incorporate criticism into the design process?
You have two ways to go back home: one it to say, ‘Forget it’, the other one is to be a bit more loyal and say ‘Let me see. What is right? What is wrong? What is useless?’. I’m not an undecided person but listening doesn’t mean being obedient. Listening doesn’t mean that you do what people tell you to do. Listening is a very difficult job because it is a mix of openness and stubbornness.
Are design competitions good for the architectural profession?
Competitions are a good idea on one condition – that they don’t become a beauty contest. Unfortunately sometimes this does happen.
Is there a need for a moral view in the profession?
I’m not a moralist, I don’t want to be moralist, but I feel sad about the way architecture is perceived sometimes – as though it’s a job for people creating shapes. Architecture is one of the most difficult, complex serious jobs.
What does it mean to be a contemporary architect?
To be an architect you need to be a master builder, a militant, a poet and a historian. But you have to be master builder; otherwise all this is garbage.


Renzo Piano: ‘Architecture is not frivolity’ | News | Architects Journal

Wednesday, June 20, 2012

AR House 2012 Winners Announced | Awards | Architectural Review

AR House 2012 Winners Announced | Awards | Architectural Review

Inner World / Innen Welt: The Projects of Haus-Rucker-Co., 1967-1992


WORK 10A Acton Street London

Saturday 23 June–Saturday 1 September 2012
Private View: Saturday 23 June 2012, 6–8 pm

From Saturday 23 June 2012, WORK is pleased to present a retrospective of key projects by avant-garde Viennese architectural group Haus-Rucker-Co.

Haus-Rucker-Co.’s designs for inflatable structures, prosthetic devices and interventions into public spaces were also blueprints for social change and an experiential theory of architecture. Situating itself in the transitional ground between architecture, design and action art, the group was unique in its distinctive emphasis on the perceptual realm.

Their pneumatic projects aimed to counteract apathy and passive acceptance of one’s environment by distorting the experience of public and private spaces, evoking a “feeling of foreignness”. Immersive environments, bubble and capsule forms, and mind-expanding structures for private contemplation or forging personal connections all delineate not only specific physical zones but also psychological spaces. Haus- Rucker-Co. also took a playful approach to architectural materials and strategies. Plastics—mutable, flexible, inexpensive, and with seemingly infinite potential—provided not only the material for many of their projects but also served as a model for the era’s futurist vision of a democratic and mobile lifestyle.

Inner World / Innen Welt presents a comprehensive selection of archival drawings and collages, photographs, models and ephemera spanning Haus-Rucker-Co.’s 25-year collaboration. Some of the projects on display were realised in public spaces; others remain virtual—and often fantastic—solutions for social, political or environmental concerns. Exhibited projects include Oase Nr. 7, a bubble-like personal oasis which protruded from the façade of the Museum Fridericianums during the 1972 Documenta; Gelbes Herz, a psychedelically-patterned “communications space-capsule for two people”; Rahmenbau, a giant framing mechanism contrasting urban sprawl with the natural landscape; and Cover, a temporary white inflatable casing erected over Mies van der Rohe’s 1921 Lange House in a gesture of architectural dialogue.

Inner World / Innen Welt marks the 20-year anniversary of Haus-Rucker-Co.’s dissolution with a celebration of the broad scope and conceptual density of this extraordinary group’s output. Haus-Rucker-Co. was founded in 1967 by Laurids Ortner, Günther Zamp Kelp and Klaus Pinter, later joined by Manfred Ortner. The group has exhibited internationally, including participation in Documenta 5 and 6, and was the subject of a major exhibition at Kunsthalle Wien in 1992, the year of the collective’s dissolution. Already working together as Ortner & Ortner on major building commissions from the mid-1980s, Manfred and Laurids Ortner went on to develop an extensive portfolio of built projects, propelling the preoccupations of Haus-Rucker-Co. into a new realm.

To coincide with the exhibition, WORK is also pleased to announce a limited edition photographic series by the artists, and a special edition of PAPERWORK that locates Haus-Rucker-Co.’s practice within broader aesthetic, historical and socio- political contexts.

Love the Pier


"the bookends of Elizabeth Scotts career" (Gillian Darley):
Shakespeare Memorial Theatre (1930) projected in the Pier Theatre (1960).


A celebration of Elizabeth Scott and Women in Architecture
Tuesday 19th June 2012
Organized by AUCB and RIBA South West at The Pier Theatre, Bournemouth.

Many thanks to our three speakers:

Gillian Darley (writer and broadcaster)
Clare Devine (Women in Architecture RIBA)
Cindy Walters (Walters and Cohen Architects)