The May issue of Domus 1068 focuses on living. In his editorial, Guest Editor 2022 Jean Nouvel shows how architecture must analyze and question the world in order to make its mark and be considered art. “Architecture proves to be art when it can find a way to question and analyze the world in depth. Like nature, like endangered species”.
Next in the Essays, professor and former Domus Director Deyan Sudjic analyses the similarities between the worlds of mechanics and architecture, comparing the different realities on common goals of innovation and new solutions: from investments to the actual effectiveness of research. This is followed by a reflection by Haig Beck and Jackie Cooper on the work of Pritzker Prize winner Glenn Murcutt, perceived as authentically Australian, even though it is grafted onto the international modernist approach.
Domus 1068 on newsstands, an issue dedicated to desires
The magazine’s May issue focuses on the imaginative capacity of architecture, with a focus on the work of Swiss studio Herzog & de Meuron. Browse the gallery to discover the contents of the magazine.
Text Jean Nouvel. Photo OMA
Text Deyan Sudjic. Photo © Foster + Partners
Text Haig Beck, Jackie Cooper. Photo © Glenn Murcutt. Courtesy of Architecture Foundation Australia
Text Ian Volner. Photo Iwan Baan
Text Alex Beam. Photo Iwan Baan
Text Alex Beam. Photo Masaki Hamada
Text Alex Beam. Photo Dia Mrad
Text Alex Beam. Photo Wang Ziling © DnA_Design and Architecture
Text Frédéric Maurin. Photo © Charles Duprat/Opéra national de Paris
Text Volkan Alkanoglu. Photo Peter Molick
Text Marc Newson. Photo © Alexandra de Cossette. Courtesy of Galerie kreo
Text Shiro Kuramata. Photo Hiroshi Iwasaki
Text Emilio Ambasz. Photo © Collection Artedia / Bridgeman Images
Text Giulia RIcci. Illustration Roberta Ragona
Text Chiara Testoni. Photo Kyung Roh
Text Antonio Armano. Photo courtesy Lualdi
Text Elena Sommariva. Photo Jonathan Mauloubier
Text Andrea Bajani. Illustration Roberta Ragona
Photo © Iwan Baan
View Article details
- La redazione di Domus
- 07 May 2022
The first part of the Architecture section is devoted to the 56 Leonard Street residential tower by Swiss studio Herzog & de Meuron. Until now, the skyscraper in New York was a type of building reserved for offices and characterized by uniform facades, but the building with its slender shape reworks the idea of “houses in the sky” in a play on the balance between volumes. “Five years after its debut, 56 Leonard Street appears to be a relatively successful combination of extravagant urban fantasy and pragmatic machine à habiter” writes Ian Volner.
The section continues with architect Michael Maltzan’s Broad Beach Residence project, a private residence on Malibu beach, with a composition of volumes that maximizes ocean views. At the same time, its interiors are amplified by a series of murals by Sol LeWitt. Kiyoaki Takeda Architects, on the other hand, show a residential project in Tokyo conceived as an experiment in the coexistence of man and nature: an architecture that moves away from the idea of green as mere decoration, presenting itself instead as an infrastructure for the environment. Finally, a villa resting on the sharp Lebanese rocks by Karim Nader Studio, and a public infrastructure created in a former mining area by DnA_Design and Architecture.
The Art pages focus on Robert Wilson’s play Turandot, in which the elegant and the playful, the static and the agile alternate in the lights, sets and costumes instinctively attributed to a Japanese inspiration, but whose origin, albeit distant, could be traced back to Expressionism. For Design, Volkan Alkanoglu tells us about the pedestrian bridge commissioned by Fort Worth Public Art, while Marc Newson illustrates the Quobus modular bookcase, designed to contain other objects and then partially disappear. Finally, Shiro Kuramata explains the design of his “chalice of light”.
The issue closes with a final reflection by Emilio Ambasz, an Argentinian architect and designer. Ambasz describes architecture as a product of social imagination. “We need to create a more a-tectonic notion of architecture, in which architecture is conceived as an integral component of that human-generated nature that we are intentionally, but also unintentionally, creating,” he writes. “The task before us is to reconcile the nature we are relentlessly building with the organic nature we have been entrusted with.”
This month’s Diary, pages dedicated to current affairs, is opened by the Points of view section, where Alison Brooks, head of Alison Brooks Architects, and Smith Mordak, director for Sustainability and Physics at Buro Happold, discuss the future of the building market and architecture’s strategies for achieving new models of development. Elena Sommariva talks about Pierre Charpin’s collections for Saint-Louis, which combine tradition and contemporary design. Antonio Armano talks to Pierluigi Lualdi about the family business: from its roots, encapsulated in the walnut pulpit of the church of San Nazario and Celso in Marcallo con Casone, to Welcome, the Philippe Starck door that integrates all the technological elements.
Walter Mariotti, Editorial Director of Domus, closes with a reflection on Giuseppe Tucci, an orientalist, explorer, lecturer and historian of religions. In 1933 he founded the Italian Institute for the Middle and Far East in Rome (IsMEO) with Giovanni Gentile.
In Domus 1068, our 2022 guest editor shows how architecture, in order to leave its mark and be considered art, must analyze and question the world.
The former director of Domus analyzes the similarities between the mechanical world and the one of architecture, comparing the different realities on common objectives of innovation and new solutions: from investments to effective research.
Glenn Murcutt's houses function environmentally, socially, and semiotically as super-efficient verandas.
Until recently, New York skyscrapers were reserved for offices and notable for th undifferentiated facades. Now the Swiss studio’s residential tower reworks the idea of “houses in the sky” with a well-balanced stacking of volumes.
Designed for legendary Hollywood agent Michael Ovitz, the house is a composition of volumes that make the most of ocean views, with interiors amplified by a series of murals by Sol LeWitt.
Devised as an experiment in cohabitation between people and nature, the form of the house is defined by the flow of rainwater: an architecture that distances itself from the idea of greenery as mere decoration, being shaped as an infrastructure for the environment.
The house, with its markedly horizontal profile, responds to the sharp rocks on which it stands, while the interiors frame precise views of the landscape.
A public infrastructure for locals and visitors revitalises an area of abandoned quarries by adapting to the landscape and regenerating its ecosystem.
The elegant and the playful, the static and the agile intersect in the scenes and costumes, assigned by eager instinct to a Japanese inspiration with intense distortions apparently rooted in expressionism.
Commissioned as part of Fort Worth Public Art, the pedestrian bridge straddles public art, plug-and-play urbanism and infrastructure.
Initiated for the Taschen bookstore in Milan in 2015, Quobus is an object designed to contain other objects and therefore made to partially disappear.
Projects are stronger when they combine artistic vision and functionality, as demonstrated by the Japanese designer’s invention of a goblet of light.
Architecture is, first of all, a product of the social imagination. Or to put it another way, first should come the Image, and only afterwards its Word. That is how art has the capacity to expand a culture and fertilise a society.
Faced with the continually rising costs of energy and materials, what strategies can architecture adopt to achieve new development models? Alison Brooks and Smith Mordak discuss the question.
On the slopes of Gyeryongsan in South Korea, Nameless Architecture offers visitors a refuge for a break, before or after the exertions of the climb.
Pierluigi Lualdi discusses the family business: from its origins dating back to the walnut pulpit in the Church of Saints Nazario and Celso in Marcallo con Casone, to Philippe Starck’s Welcome door that integrates a full range of technological elements.
With a new transversal collection of 29 objects that combine tradition with contemporary design, France’s oldest crystal glass manufacturer is focused on the future.
For the writer, more than luxury hotels, modest pensions have always been surrogate houses. Like the small hotel in the Vicenza hills, where, on the occasion of a local literary festival, he began occupying Room 8 for years, in stays of one week at a time.
Herzog & de Meuron, 56 Leonard Street, New York City