Articles by Vladimir Belogolovsky

There are so many complexities and contradictions in both life in general and architecture in particular. I am writing this intro to an interview I held in 2004 with Robert Venturi and his life-and-architecture partner Denise Scott Brown, while visiting Beijing’s Tsinghua University where I was invited to teach this fall. Was it simply a coincidence when, at the last moment before leaving my New York City apartment I would, by chance, grab a 2001 issue of Architecture magazine with Venturi on its cover and his contradictory quote, “I am not now and never have been a postmodernist.”

It is so refreshing to hear the words: “We do everything differently. We think differently. We are still not a part of any system or any group.” In the following excerpt of my recent conversation with Liz Diller and Ric Scofidio at their busy New York studio we discussed conventions that so many architects accept and embrace, and how to tear them apart in order to reinvent architecture yet again. In New York the founding partners of Diller, Scofidio + Renfro have shown us exactly that with their popular High Line park, original redevelopment of the Lincoln Center, sculpture-like Columbia University Medical Center in Washington Heights, and The Shed with its movable “turtle shell” that’s taking shape in the Hudson Yards to address the evolving needs of artists because what art will look like in the future is an open question.

Manuel N. Zornoza grew up in Alicante, Spain and, following studies in Madrid (UAX) and London (the AA), relocated to China in 2010 to avoid the economic crisis stifling architectural work in his home country. Over the last eight years, the young architect’s small but thriving studio has built more than a dozen projects, from shops, to factory space conversions, to a traditional Chinese hutong – all in China. But that’s not to say Zornoza’s left his roots behind. He now also maintains a small practice in Madrid, which handles projects in both China and Spain.

Sergey Skuratov, founder of Sergey Skuratov Architects, an award-winning Russian practice (2008 Architect of the Year), is known for his sleek and well-composed portfolio. Projects such as Copper House, Art House, and House on Mosfilmovskaya Street demonstrate his sensitivity to materiality and ability to retain his vision from concept to reality. Over the last two decades Skuratov has succeeded in producing a whole strata of world-class architecture in Moscow, far more than any other local practitioner. His projects, predominantly residential and office complexes, have remained attractive and versatile without ever veering into conservatism.

Though the understated Swiss and British Pavilions were the big (but distinctly minimal) winners at this year’s Venice Architecture Biennale, it was the Chinese that put their relentless architectural progress on display. Nestled in the back of the Arsenale, the Chinese Pavilion presented dozens of built works all around Chinese countryside, each project demonstrating a meaningful social impact through the involvement of villagers in the production process. Among the most visible Chinese architects presenting at the pavilion was Shanghai-based educator and practitioner Philip Yuan, whose office Archi-Union Architects has become a major voice in the already-distinctive contemporary Chinese architecture scene.

Throughout the work of Beijing-based practice ARCHSTUDIO, there is a constant feeling of sensitivity to culture and history. That is not to say that the firm’s designs are not modern—far from it in fact—but that the work of founder Han Wenqiang infuses modern materials and forms with a distinctly Chinese sensibility, that is just as apparent in his designs for a food packaging facility as it is in a Buddhist shrine (incidentally, both designs which won ArchDaily Building of the Year Awards, in 2017 and 2018 respectively). In the latest interview from his “City of Ideas” series, Vladimir Belogolovsky speaks to Han about whether architecture is an art form and what it means to create “Chinese” architecture in the 21st century.

During my meetings with Will Alsop—two at his London studio in 2008 and 2010, and during our four-day trip to Moscow where I organized his lecture for SPEECH Magazine in winter 2011—he impressed me as having the most genuine, artistic, and free-spirited soul of all the architects I met. Calatrava, Hadid, and Gehry may strike one as great artists, but no matter how inventive they are, they are all involved in shaping buildings. Alsop, on the other hand, would find himself engaged in working in a completely boundless and unrestricted manner as a true artist. It seems that his whimsical works—”blobs and daubs,” as he called them—are imagined as pure fantasies to be transformed into architecture much later by his staff. Eventually, he would have to “sell” them to his clients as buildings that function.

In China‘s newly emerging constellation of famed architects, few firms elicit the sense of surprise caused by the work of Atelier Deshaus. With projects ranging from awe-inspiring to humble, their work does not adhere to any stylistic rules, but all of their projects exude an enigmatic aura. In this interview, the latest in Vladimir Belogolovsky’s “City of Ideas” series, principals Liu Yichun and Chen Yifeng discuss the role of identity in their work and how they try to connect their buildings to the landscape.

With the unconventional, undulating forms of his buildings—and the fact that his path to architectural success included a stint working for Zaha Hadid—Ma Yansong is often miscategorized as an architect of the latter generation of Deconstructivists, interested only in futuristic forms that push the boundaries of technology for the sake of innovation as an end in itself. But in fact Ma’s designs, especially those in his home country of China, are deeply rooted in nature and tradition, as he explains in the latest interview from Vladimir Belogolovsky’s “City of Ideas” series.

Visiting Mexico City several times in recent months enabled me to get to know a number of leading architects there. In the process, I was in turn directed to other architects that were new to me, whom I then discovered were, in fact, the leading and most revered architects in the country according to the local architectural community. I am particularly referring to Alberto Kalach and Mauricio Rocha, whose interviews were published in this column last year, and Benjamín Romano, whose name came up when I asked a number of architects to cite their favorite building from recent years in Mexico City. Along with the absolute favorite, Vasconcelos Library by Kalach, another structure stood out: Torre Reforma, a 57-story office tower, the tallest building in the city. The following conversation with Romano, its architect, took place inside this unusually powerful and inventive structure.