− Hy-Fi _ The Living
− Montpellier Human Body Museum _ BIG
− Saint Anna Chapel Recovery _ Studio Galantini
− Saint John Baptist Chapel in El Hierro Island _ Beautell Arquitectos
− Kamppi Chapel _ K2S Architects
− Roof and Mushrooms _ Office of Ryue Nishizawa + nendo
− Fukita Pavilion _ Office of Ryue Nishizawa
After Universal Space
After Universal Space _ Douglas Murphy
− House in Villarcayo _ Pereda Pérez Arquitectos
− Entre Cielos Hotel & Spa _ A4 estudio
− Family House _ noname29
− Riverside Clubhouse _ TAO
Awakening Kidspace
Learning from Spaces _ Aldo Vanini
− Kindergarten in Orense _ Abalo Alonso Arquitectos
− House of Children in Saunalahti _ JKMM Architects
− Kings Park Environment Awareness Center _ Donaldson + Warn
− Ama’r Children’s Culture House _ Dorte Mandrup Arkitekter
− Lasalle Franciscanas School Elevated Sports Court _ Guzmán de Yarza Blache
Seung, H-Sang
Testing the Strength of Architecture _ Hyungmin Pai + Seung, H-Sang
− HyunAm, A Black Cottage
− Shin DongYeop Literary Museum
− Pindu Housing Culture Center
C3 no.356 (2014 #4/12)
After Universal Space
After Universal Space _ Douglas Murphy
In a period of pluralism in global architecture, where boundaries between methodologies are becoming increasingly irrelevant, where formal experimentation is easier than ever to achieve, and the proliferation of online media means that access to architecture and architectural imagery is easier than at any time before, the 20th century investigations into “universal space” of Mies van der Rohe, once thought to be the very endpoint of reductionism in architecture, are now frequently being used as a basis for more complex and articulated buildings.
What was once a statement about the spatial promises of modernity, in many respects fulfilled by the adaptation to the demands of capitalist space, can now be approached by contemporary architects as a toolkit for more free-form and eclectic tectonic investigations. The almost-linear development of “universal space” through the 20th century, where structure and envelope gradually dematerialised until one could begin to discern the ideal of a totally abstract interior, free from load and completely indeterminate, can now be adapted to create more convoluted interpenetrations of space. Informed by intervening decades of formal exuberance and luxury minimalism, these new versions of “universal space” are more indicative of the digital 21st century.
C3 no.356 (2014 #4/12)
After Universal Space
After Universal Space _ Douglas Murphy
In a period of pluralism in global architecture, where boundaries between methodologies are becoming increasingly irrelevant, where formal experimentation is easier than ever to achieve, and the proliferation of online media means that access to architecture and architectural imagery is easier than at any time before, the 20th century investigations into “universal space” of Mies van der Rohe, once thought to be the very endpoint of reductionism in architecture, are now frequently being used as a basis for more complex and articulated buildings.
What was once a statement about the spatial promises of modernity, in many respects fulfilled by the adaptation to the demands of capitalist space, can now be approached by contemporary architects as a toolkit for more free-form and eclectic tectonic investigations. The almost-linear development of “universal space” through the 20th century, where structure and envelope gradually dematerialised until one could begin to discern the ideal of a totally abstract interior, free from load and completely indeterminate, can now be adapted to create more convoluted interpenetrations of space. Informed by intervening decades of formal exuberance and luxury minimalism, these new versions of “universal space” are more indicative of the digital 21st century.
