Carla Juaçaba. Born in 1976, since 2000, she developed her independent practice of architecture and research based in Rio de Janeiro, Brazil. Her office is currently engaged in both public and private projects, focusing on housing and cultural programs.
Since undergraduate student she worked with the architect Gisela Magalhães of the Niemeyer’s generation, mostly in the area of exhibitions related to the Brazilian native arts and historical museums.
During her first year after college (2000) she worked jointly with another architect Mario Fraga on the project named “Atelier House”. Following that, a series of projects have been conceived such as the “Rio Bonito house” (2005), the “Varanda House”(2007), the “Minimum House”(2008),“Santa Teresa House” in its final stage (2012), and a couple of exhibition design. Current works includes the ephemeral pavilion conceived with the senior scenographer and theather director Bia Lessa, “Humanidade2012” for Rio+20, the recent international meeting held in Rio de Janeiro. And also two houses on the outskirts of Rio.
Carla Juaçaba is constantly a part of the academic and teaching realms, as well as research studies, lectures, biennales, exhibitions and recently was the Jury at BIAU Bienal Ibero Americana in Madrid (2012). She is currently teaching at FAU-PUC RJ Pontifícia Universidade Católica.
Her work is focused on an intrinsic issue of the discipline: the poetics of tectonics, and its expressive potentiality.
Andrew Berman Architect PLLC is a New York based practice focused on the realization of unique and finely executed spaces. The work of the studio capitalizes on the qualities of place and seeks creative opportunities in the desires and programmatic requirements of the client. A consistent engagement with our clients, professional consultants, contractors, engineers and fabricators throughout design and construction is a key means for the office to generate ideas and provide works of the greatest quality and expression.
Andrew Berman Architect was founded in 1995 and has gained recognition through notable projects such as the AIA Center for Architecture, the Writing Studio, FDNY Engine Company 259 Firehouse, MoMA PS1 Entrance Building and Gallery Renovations, The National Opera Center and the SculptureCenter. Current projects include a renovation of the Lower East Side Ecology Center, a two-stage theater for the MCC Theater Company, several artists' studios, as well as residential commissions.
Andrew D. Berman received a Bachelor of Arts from Yale College and a Master of Architecture from the Yale School of Architecture in 1988 where he was awarded the Takenaka Komuten Traveling Fellowship in Osaka, Japan. In 2010, Andrew received the Emerging Voices Award given by the Architectural League of New York, and in 2014 was made a Fellow of the American Institute of Architects.
Since its founding in 1995 the practice has gained recognition through notable projects such as the Center for Architecture for the American Institute of Architects (2003), Writing Studio (2008), FDNY Engine Company 259 Firehouse (2009), MoMA PS1 Entrance Building (2011), The National Opera Center (2012), Stapleton Library (2013), and SculptureCenter (2014). In 2010, Andrew received the Emerging Voices Award given by The Architectural League of New York and in 2014 became a Fellow of the American Institute of Architects. In 2016 Andrew was the recipient of the Architecture Award from The American Academy of Arts and Letters.
Flores & Prats is an architecture studio based in Barcelona. Established in 1998 by Eva Prats and Ricardo Flores, it is dedicated to confronting theory and academic practice with design and construction activity. The studio has been involved in several kinds of projects, especially for Public Administration through open competitions. These include residential and public buildings as well as public spaces, and also exhibition design and site-specific installations for major cultural institutions and museums such as Tàpies Foundation, Miró Foundation, and Centre de Cultura Contemporània de Barcelona. www.floresprats.com
Norman Foster is considered by many to be the most prominent architect in Britain. He won the 1999 Pritzker Architecture Prize and the 2009 Príncipe de Asturias de las Artes Prize.
Lord Foster rebuilt the Reichstag as a new German Parliament in Berlin and designed a contemporary Great Court for the British Museum. He linked St. Paul's Cathedral to the Tate Modern with the Millennium Bridge, a steel footbridge across the Thames. He designed the Hearst Corporation Building in Manhattan, at 57th Street and Eighth Avenue.
He was born in Manchester, England, in 1935. Among his firm’s many other projects are London’s City Hall, the Bilbao Metro in Spain, the Canary Wharf Underground Station in London and the renovated courtyard of the Smithsonian American Art Museum and National Portrait Gallery in Washington.
In the 1970s, Lord Foster was one of the most visible practitioners of a high-tech architecture that fetishized machine culture. His triumphant 1986 Hong Kong and Shanghai bank building, conceived as a kit-of-parts plugged into a towering steel frame, was capitalism's answer to the populist Pompidou Center in Paris.
Nicolai Ouroussoff, The Times’s architecture critic, has written that although Lord Foster’s work has become sleeker and more predictable in recent years, his forms are always driven by an internal structural logic, and they treat their surroundings with a refreshing bluntness.
Awarded the Prince of Asturias of the Arts 2009.
METALOCUS > 05.2017
He obtained a Masters of Architecture degree from RMIT University in 1999 entitled ‘The Appropriateness of the Contemporary Australian Dwelling.’ His work has been published in the world’s leading architectural journals including Architectural Review (UK), Architectural Record (USA), Domus (Italy), A+U (Japan), Casabella (Italy), GA Houses (Japan), Detail (Germany), Le Moniteur (France), and Architect (Portugal).
He has lectured in the USA, UK, China, Japan, India, France, Italy and New Zealand as well as across Australia. He was a keynote speaker at the Alvar Aalto symposium in Finland in July 2006.
In July 2003 he received a citation from the president of the American Institute of Architects for his work for the homeless. His Future Shack prototype was exhibited from May to October 2004 at the Smithsonian Institute’s Cooper Hewitt Design Museum in New York. In the same year the Italian publisher Electa published the monograph Sean Godsell: Works and Projects. TIME Magazine named him in the ‘Who’s Who—The New Contemporaries’ section of their 2005 ‘Style and Design’ supplement. He was the only Australian and the only architect in the group of seven eminent designers.
He has received numerous local and international awards. In 2006 he received the Victorian Premier’s Design Award and the RAIA Robin Boyd Award and in 2007 he received the Cappochin residential architecture award in Italy and a Chicago Athenaeum award in the USA—all for St Andrews Beach House—and in 2008 he was a finalist in the Wallpaper* International Design Awards and a recipient of his second AIA Record Houses Award for Excellence in the USA for Glenburn House. In 2008 noted architectural historian and professor of architecture at Columbia University Kenneth Frampton nominated him for the inaugural BSI Swiss Architecture Award for architects under the age of 50, and his work was exhibited as part of the Milan Triennale and Venice Biennale in the same year. In 2010 the prototype of the RMIT Design Hub facade was exhibited in Gallery MA in Tokyo before being transported in 2011 to its permanent home at the Victoria and Albert Museum in London. In 2012 he was shortlisted to design the new Australian Pavilion in Venice. In 2013 he received the RAIA Victorian Medal and William Wardell Awards for the RMIT Design Hub and the Harold Desbrowe Annear award for the Edward Street House.
In January 2013 the Spanish publication El Croquis published the monograph Sean Godsell – Tough Subtlety which includes an essay by Juhani Pallasmaa and interview by Leon Van Schaik. In July 2013 and July 2014 he was visiting professor at the IUAV WAVE workshop in Venice and delivered the UNESCO chair open lecture in Mantova, Italy.
Smiljan Radic Clarke was born in Santiago de Chile in 1965. He studied at the Catholic University of Chile's School of Architecture, where he graduated in 1989. Later, he studied at the Institutto di Architettura di Vezia, Italy. After travelling for three years, he opened his own practice in Santiago in 1995. In 2001 he was named ‘Best under 35 year old architect’ by the Chile College of Architects, and in 2009 he was appointed as an honourary member of the American Institute of Architects, USA.
Smiljan Radic has lectured extensively and has mounted several architecture exhibitions on his work, including in 2013 - The Wardrobe and the Mattress, Hermes Gallery, Tokyo, Japan; Bus Stop for Krumbach, Kunsthaus Bregenz, Austria; Ilustraciones, Galeria AFA, Santiago; in 2012 - An Orange Tree Noise at the Hiroshima Museum of Contemporary Art, Japan and in 2010 Global Ends, Ma Gallery in Tokyo, 2010, and People Meet in Architecture, with sculptor Marcela Correa at the 12th International Architecture Exhibition in Venice. Smiljan Radic has won numerous contests such the Regional Theatre (Concepción, 2011) and the Telecomunication Tower (Santiago, 2014). His work has been published in several architecture journals and monographs, the most recent being El Croquis N° 167, Madrid, Spain. He currently lives and works in Chile.
Eduardo Souto de Moura was born in Porto, Portugal in 1952. His father was a doctor (ophthalmologist) and his mother a home maker. He has one brother and one sister. The sister is also a doctor and his brother is a lawyer with a political career – formerly he was Attorney General of Portugal.
Following his early years at the Italian School, Souto de Moura enrolled in the School of Fine Arts in Porto, where he began as an art student, studying sculpture, but eventually achieving his degree in architecture. He credits a meeting with Donald Judd in Zurich for the switch from art to architecture. While still a student, he worked for architect Noé Dinis and then Álvaro Siza, the latter for five years. While studying and working with his professor of urbanism, Architect Fernandes de Sá, he received his first commission, a market project in Braga which has since been demolished because of changing business patterns.
After 2 years of military service he won the competition for the Cultural Centre in Porto. The beginning of his career as an independent architect.
He is frequently invited as a guest professor to Lausanne and Zurich in Switzerland as well as Harvard in the United States. These guest lectures at universities and seminars over the years have afforded him the opportunity to meet many colleagues in the field, among them Jacques Herzog and Aldo Rossi.
He is married and he has 3 daughters: Maria Luisa, Maria da Paz e Maria Eduarda.His wife, Luisa Penha, and the eldest daughter are architects, the second is a nurse and the third is on the Faculty of Architecture of the University of Oporto for the 3rd year.
Along with his architecture practice, Souto de Moura is a professor at the University of Oporto, and is a visiting professor at Geneva, Paris-Belleville, Harvard, Dublin and the ETH Zurich and Lausanne.
Often described as a neo-Miesian, but one who constantly strives for originality, Souto de Moura has achieved much praise for his exquisite use of materials -- granite, wood, marble, brick, steel, concrete -- as well as his unexpected use of color. Souto de Moura is clear on his view of the use of materials, saying, “I avoid using endangered or protected species. I think we should use wood in moderation and replant our forests as we use the wood. We have to use wood because it is one of the finest materials available.”
In an interview with Croquis, he explained, “I find Mies increasingly fascinating...There is a way of reading him which is just to regard him as a minimalist. But he always oscillated between classicism and neoplasticism...You only have to remember the last construction of his life, the IBM building, with that powerful travertine base that he drilled through to produce a gigantic door. Then on the other hand, he arrived in Barcelona and did two pavilions, didn’t he? One was abstract and neo plastic and the other one was 9 classical, symmetrical with closed corners...He was experimenting. He was already so modern he was ‘post’.”
Souto de Moura acknowledges the Miesian influence, speaking of his Burgo Tower, but refers people to something written by Italian journalist and critic, Francesco Dal Co, “it’s better not to be original, but good, rather than wanting to be very original and bad.”
At a series of forums called the Holcim Forum on sustainable architecture, Souto de Moura stated, “For me, architecture is a global issue. There is no ecological architecture, no intelligent architecture, no sustainable architecture — there is only good architecture. There are always problems we must not neglect; for example, energy, resources, costs, social aspects — one must always pay attention to all these.”