THE PLAN 135 says goodbye to 2021. Paying tribute to the year that was and welcoming in the year that’s to come, this is a particularly featured-packed issue.
The issue opens with an editorial in which Patrick Schumacher, director of Zaha Hadid Architects, looks at high-intensity vertical developments. Almost a hundred years after Ludwig Hilberseimer proposed the idea, the vertical city will be at the center of a new urban revolution, while the buildings that compose it – skyscrapers – will act as social connectors rather than just ways to concentrate humans into one area. Schumacher illustrates his ideas with projects by Zaha Hadid Architects.
Paolo Valerio Mosco, author of Viaggio in Italia – Architetture e Città, looks at a project by Stefano Boeri Architetti, the Ca’ delle Alzaie residential complex in Treviso, Italy. As he does in all his articles, Mosco doesn’t limit himself to just examining the building in question, but also presents his thoughts on the work of architect Stefano Boeri in general.
We then take a critical look at The Creative Hub – that is, Furla’s new offices and production facility. For this project in Tavarnelle Val di Pesa (Florence), architects Stefano Gri and Piero Zucchi, from Studio GEZA Gri and Zucchi Architetti Associati, worked with the landscape to create architecture that becomes part of the landscape itself and enriches it.
Still in Italy, we analyze the San Giovanni Apostolo parish complex in Ferrara, the work of EMBT Miralles Tagliabue. Like the studio’s design of the Santa Caterina Market in Barcelona, the defining element of this church is the waved design of its sculpture-like roof.
We also look at Techbau’s new headquarters in Castelletto Sopra Ticino, Novara, the work of Piuarch.
Moving overseas, Michael Webb looks at California House, a home designed by GLUCK+ in the Los Angeles hills, describing it as “a balance between air and earth.”
Still in the City of Angels, we then focus on the Audrey Irmas Pavilion, a project by OMA New York. This is a design with a strong identity, each of its elevations marked by its own distinctive features. Its geometry, colors, and interplay of lights combine to create an architectural landmark for the city.
Next we discuss two residential complexes. The first, Pearl Block, designed by D’Arcy Jones Architects, is in Victoria, British Columbia, Canada. The second, the San Crescente complex in Santiago de Chile, was designed by Izquierdo Lehmann Architects.
We end our journey in London with the wooden sculptures of Discovered, a project organized by the American Hardwood Export Council (AHEC) that asked twenty young creative minds to design an object that responds to their unique experience of the pandemic. Their answers, in the form of wooden sculptures, are examined in this article.
Issue 135 is especially rich in photographs and construction details from which to draw inspiration. The cover is dedicated to the Audrey Irmas Pavilion, designed by OMA New York.
The issue opens with an editorial in which Patrick Schumacher, director of Zaha Hadid Architects, looks at high-intensity vertical developments. Almost a hundred years after Ludwig Hilberseimer proposed the idea, the vertical city will be at the cent... Read More