https://www.architecturalrecord.com/rss/2652 en-us http://www.architecturalrecord.com/articles/14354 Tue, 12 Nov 2019 17:39:00 -0500 https://www.architecturalrecord.com/articles/14354-glenn-murcutts-mpavilion-opens-in-melbourne 2019-MPavilion-Melbourne-Glenn-Murcutt-03.jpg 2019 MPavilion by Glenn Murcutt Photo © John Gollings 2019-MPavilion-Melbourne-Glenn-Murcutt-06.jpg 2019 MPavilion by Glenn Murcutt Photo © John Gollings 2019-MPavilion-Melbourne-Glenn-Murcutt-05.jpg 2019 MPavilion by Glenn Murcutt Photo © John Gollings 2019-MPavilion-Melbourne-Glenn-Murcutt-04.jpg 2019 MPavilion by Glenn Murcutt Photo © John Gollings 2019-MPavilion-Melbourne-Glenn-Murcutt-02.jpg 2019 MPavilion by Glenn Murcutt Photo © John Gollings 2019-MPavilion-Melbourne-Glenn-Murcutt-01.jpg 2019 MPavilion by Glenn Murcutt Photo © John Gollings 2019-MPavilion-Melbourne-Glenn-Murcutt-07.jpg 2019 MPavilion by Glenn Murcutt Photo © John Gollings From the inner world of Rem Koolhaas to how a garden designer transformed health care design, ADFF 2017 delivers big names and new angles.

]]> http://www.architecturalrecord.com/articles/13026 Fri, 29 Sep 2017 12:00:00 -0400 https://www.architecturalrecord.com/articles/13026-2017-architecture-and-design-film-festivals-lineup-plays-with-tradition-and-form A still from the Rem Koolhaus documentary, REM, directed by his son Tomas. Photo © Tomas Koolhaus The film Building Hope: The Maggie’s Centres, by Sarah Howitt, portrays how one woman’s cancer diagnosis sparked the transformation of treatment centers. The Frank Gehry-designed Maggie’s Centre in Dundee, Scotland, is among the projects featured in the film. Photo courtesy ADFF The festival opens with the documentary, Glenn Murcutt: Spirit of Place, which explores the life and work of Australia’s most internationally recognized architect, pictured here on the roof of his Australian Islamic Centre in Melbourne. Photo © Jesse Marlow/Fairfax SuperDesign, a new documentary by Francesca Molteni, retraces the history and heritage of Italian Radical Design, which rose to prominence in the 1960s and 1970s. The Superonda sofa, pictured here, was designed by Archizoom Associati and is an enduring symbol of the movement. Photo © Dario Bartolini, courtesy of Centro Studi Poltronova Actors Haley Lu Richardson and John Cho star in Koganada’s debut film, Columbus. The film will be the festival’s first screening of a narrative film. Photo © Elisha Christian/Superlative Films/Depth of Field 081204goldmedal.asp Thu, 04 Dec 2008 12:00:00 -0500 https://www.architecturalrecord.com/articles/4687-murcutt-wins-aia-gold-medal 09goldmedal.asp Wed, 16 May 2007 12:00:00 -0400 https://www.architecturalrecord.com/articles/6029-interview-with-2009-aia-gold-medal-winner-glenn-murcutt Gold Medal: Glenn Murcutt Australian architect Glenn Murcutt is awarded the 2009 AIA Gold Medal for his continued contributions to sustainable architecture. Photo © Anthony Browell Gold Medal: Glenn Murcutt This house for a young couple with a child shows the strong influence of Mies van der Rohe on Murcutt’s early work. Built on land vulnerable to bushfires, timber construction was ruled out, resulting in the clean, steel-and-glass material palette. The harsh Australian landscape influenced Murcutt’s decision-making, convincing him to incorporate louvers and other shading systems, a large verandah, and an 8-inch-deep rooftop pool of water for insulation and fireproofing. Photo © Max Dupain Gold Medal: Glenn Murcutt This house for a young couple with a child shows the strong influence of Mies van der Rohe on Murcutt’s early work. Built on land vulnerable to bushfires, timber construction was ruled out, resulting in the clean, steel-and-glass material palette. The harsh Australian landscape influenced Murcutt’s decision-making, convincing him to incorporate louvers and other shading systems, a large verandah, and an 8-inch-deep rooftop pool of water for insulation and fireproofing. Photo © Max Dupain Gold Medal: Glenn Murcutt Murcutt engages both climatically sensitive strategies and vernacular Australian precedents in this seminal work. Set above the floodplain of this large farmland site, the house is positioned in the landscape to take advantage of ocean breezes while employing strategies that insulate it from direct sunlight in the summer and from winter winds. This is his first use of a strategy of exterior layering, employing a set of glass or metal louvers, a mediating insect screen, and an exterior sunscreen of aluminum slatted blinds. These components are all adjustable, with the idea that houses should be like clothing — one can wear more or less, depending on the season and the weather. Murcutt bought the house in 1980 and has since expanded it. Photo © John Gollings Gold Medal: Glenn Murcutt Commissioned by two painters who wanted to leave Sydney for more peaceful, rustic climes, this lightweight, compact dwelling became a model for much of Murcutt’s ensuing work. A steel structure with timber joists, the house features long north and south faces that, along with the roof, are clad in corrugated-iron sheets. The house is raised on steel columns set on a wooded hillside, literally fulfilling Murcutt’s dictum to “touch the earth lightly.” Photo © Anthony Browell Gold Medal: Glenn Murcutt Sited on a vast coastal plain 155 miles from Sydney, this house elaborates on schemes Murcutt had developed in previous projects — such as triple-layered exterior walls and rainwater collecting systems — while adding a distinctive butterfly roof that improves ventilation and daylight inside the residence. Where Murcutt’s earlier houses often use cores to house bathroom and plumbing, here he organizes the building in an unrelenting line, with all bathrooms and kitchens arranged along the rear wall. Photo © Max Dupain Gold Medal: Glenn Murcutt Sited on a vast coastal plain 155 miles from Sydney, this house elaborates on schemes Murcutt had developed in previous projects — such as triple-layered exterior walls and rainwater collecting systems — while adding a distinctive butterfly roof that improves ventilation and daylight inside the residence. Where Murcutt’s earlier houses often use cores to house bathroom and plumbing, here he organizes the building in an unrelenting line, with all bathrooms and kitchens arranged along the rear wall. Photo © Anthony Browell Gold Medal: Glenn Murcutt Sited on a vast coastal plain 155 miles from Sydney, this house elaborates on schemes Murcutt had developed in previous projects — such as triple-layered exterior walls and rainwater collecting systems — while adding a distinctive butterfly roof that improves ventilation and daylight inside the residence. Where Murcutt’s earlier houses often use cores to house bathroom and plumbing, here he organizes the building in an unrelenting line, with all bathrooms and kitchens arranged along the rear wall. Photo © Anthony Browell Gold Medal: Glenn Murcutt This unusual house is Murcutt’s clearest discussion with Australian vernacular architecture, in particular native Aboriginal dwellings. There is no glazing anywhere on the house, which instead opts for a series of panels that can open and close, transforming the ventilation and appearance of the entire house. Built for the Aboriginal artist Banduk Marika and her family, the house was an attempt at connecting the colonial and Aboriginal cultures of Australia, prompting Marika to call it her “Bridge House. Photo © Glenn Murcutt Gold Medal: Glenn Murcutt This unusual house is Murcutt’s clearest discussion with Australian vernacular architecture, in particular native Aboriginal dwellings. There is no glazing anywhere on the house, which instead opts for a series of panels that can open and close, transforming the ventilation and appearance of the entire house. Built for the Aboriginal artist Banduk Marika and her family, the house was an attempt at connecting the colonial and Aboriginal cultures of Australia, prompting Marika to call it her “Bridge House. Photo © Glenn Murcutt Gold Medal: Glenn Murcutt Darwin-based Troppo Architects collaborated with Murcutt to develop the design of this public project in Australia’s Northern Territory. The team consulted members of the local Aboriginal population, leading to the use of regional materials, such as rammed earth, as well as larger curatorial strategies such as designing the museum to reflect the Aboriginal idea of “a journey without beginning or end.” The structure consists of a long butterfly roof and a large wooden brise-soleil that form a continuous verandah over a series of pavilions. Photo © John Gollings Gold Medal: Glenn Murcutt Darwin-based Troppo Architects collaborated with Murcutt to develop the design of this public project in Australia’s Northern Territory. The team consulted members of the local Aboriginal population, leading to the use of regional materials, such as rammed earth, as well as larger curatorial strategies such as designing the museum to reflect the Aboriginal idea of “a journey without beginning or end.” The structure consists of a long butterfly roof and a large wooden brise-soleil that form a continuous verandah over a series of pavilions. Photo © John Gollings Gold Medal: Glenn Murcutt Darwin-based Troppo Architects collaborated with Murcutt to develop the design of this public project in Australia’s Northern Territory. The team consulted members of the local Aboriginal population, leading to the use of regional materials, such as rammed earth, as well as larger curatorial strategies such as designing the museum to reflect the Aboriginal idea of “a journey without beginning or end.” The structure consists of a long butterfly roof and a large wooden brise-soleil that form a continuous verandah over a series of pavilions. Photo © John Gollings Gold Medal: Glenn Murcutt A dormitory for resident artists and up to 32 students built on a bucolic site three hours from Sydney, this project marks one of Murcutt’s most prominent attempts at large-scale work. Because of the nature of the project, the architect was able to create a natural extension of his domestic longhouse forms — a long line of bedrooms extending on the south with communal and eating areas on the north edge of the structure. The project also employs and multiplies the strategies of environmental coexistence that Murcutt has explored throughout his career. The building’s dialogue with its surrounding topography transports this project from an expression of Murcutt’s overriding themes to a unique masterwork in its own right. Photo © John Gollings Gold Medal: Glenn Murcutt A dormitory for resident artists and up to 32 students built on a bucolic site three hours from Sydney, this project marks one of Murcutt’s most prominent attempts at large-scale work. Because of the nature of the project, the architect was able to create a natural extension of his domestic longhouse forms — a long line of bedrooms extending on the south with communal and eating areas on the north edge of the structure. The project also employs and multiplies the strategies of environmental coexistence that Murcutt has explored throughout his career. The building’s dialogue with its surrounding topography transports this project from an expression of Murcutt’s overriding themes to a unique masterwork in its own right. Photo © John Gollings Gold Medal: Glenn Murcutt This residence, 125 miles southwest of Sydney, allowed Murcutt to articulate consistent themes in his work on a grand scale. It looks and feels like a typical rural Murcutt project: a long, linear plan; sensitivity to sun exposures; attention to rainwater collection. But unlike his more modest projects, this one revels in its size. For instance, a 230-foot-long arcade that runs the length of the structure channels indirect sunlight that moves across the wall throughout the day. Author Françoise Fromonot calls this, “doubtless the most metaphysical space Murcutt has built to date. Photo © Glenn Murcutt Gold Medal: Glenn Murcutt This residence, 125 miles southwest of Sydney, allowed Murcutt to articulate consistent themes in his work on a grand scale. It looks and feels like a typical rural Murcutt project: a long, linear plan; sensitivity to sun exposures; attention to rainwater collection. But unlike his more modest projects, this one revels in its size. For instance, a 230-foot-long arcade that runs the length of the structure channels indirect sunlight that moves across the wall throughout the day. Author Françoise Fromonot calls this, “doubtless the most metaphysical space Murcutt has built to date. Photo © Glenn Murcutt Gold Medal: Glenn Murcutt Murcutt and his wife, Wendy Lewin, are designing this mineral museum in a hot and arid region west of Brisbane, near the border of Queensland. To deal with the rugged climate, they are pushing the building into the side of a hill, using the land to protect interior spaces. The museum will display prime examples of fossils found nearby and highlight the area’s rich history of opal mining. Image courtesy Glenn Murcutt Gold Medal: Glenn Murcutt Working in association with Hakan Elevli, Murcutt is using a Modernist vocabulary to create a timeless place for worship that speaks to Islamic architecture’s traditional reliance on geometry and repetition, rather than figurative representation. Image courtesy Glenn Murcutt Gold Medal: Glenn Murcutt -->Working in association with Hakan Elevli, Murcutt is using a Modernist vocabulary to create a timeless place for worship that speaks to Islamic architecture’s traditional reliance on geometry and repetition, rather than figurative representation. Image courtesy Glenn Murcutt Gold Medal: Glenn Murcutt Working in association with Hakan Elevli, Murcutt is using a Modernist vocabulary to create a timeless place for worship that speaks to Islamic architecture’s traditional reliance on geometry and repetition, rather than figurative representation. Image courtesy Glenn Murcutt http://www.architecturalrecord.com/articles/12559 Mon, 01 Jul 2002 00:00:00 -0400 https://www.architecturalrecord.com/articles/12559-a-singular-voice-glenn-murcutt-wins-2002-pritzker-prize