Alain de Botton plans temples for atheists


Dezeen Wire:
writer Alain de Botton has announced plans to build a series of temples for atheists in the UK. The first will be a 46 metre-tall black tower designed by Tom Greenall Architects and constructed in London to represent the idea of perspective. 

The move follows the publication of de Botton’s latest book, Religion for Atheists, and his Living Architecture social enterprise to construct holiday homes by the likes of MVRDV, Peter Zumthor and NORD Architecture.

Read more about Living Architecture on Dezeen here.

Here are some more details from Alain de Botton:


Alain de Botton – A Temple for Atheists

Author Alain de Botton has announced a bold new plan for a series of Temples for Atheists to be built around the UK.

‘Why should religious people have the most beautiful buildings in the land?’ he asks. ‘It’s time atheists had their own versions of the great churches and cathedrals’.

Alain de Botton has laid out his plans in a new book, Religion for Atheists, which argues that atheists should copy the major religions and put up a network of new architectural masterpieces in the form of temples.

‘As religions have always known, a beautiful building is an indispensable part of getting your message across. Books alone won’t do it.’

De Botton argues that you definitely don’t need a god or gods to justify a temple. ‘You can build a temple to anything that’s positive and good. That could mean: a temple to love, friendship, calm or perspective.’

De Botton has begun working on the first Temple for Atheists. Designed by Tom Greenall Architects, this will be a huge black tower nestled among the office buildings in the City of London. Measuring 46 meters in all, the tower represents the age of the earth, with each centimetre equating to 1 million years and with, at the tower’s base, a tiny band of gold a mere millimetre thick standing for mankind’s time on earth. The Temple is dedicated to the idea of perspective, which is something we’re prone to lose in the midst of our busy modern lives.

De Botton suggests that atheists like Richard Dawkins won’t ever convince people that atheism is an attractive way of looking at life until they provide them with the sort of rituals, buildings, communities and works of art and architecture that religions have always used.

‘Even the most convinced atheists tend to speak nicely about religious buildings. They may even feel sad that nothing like them gets built nowadays. But there’s no need to feel nostalgic. Why not just learn from religions and build similarly beautiful and interesting things right now?’

Grimshaw to design new masterplan for Wimbledon


Dezeen Wire:
British architects Grimshaw have been selected by the All England Lawn Tennis Club to design a new masterplan for Wimbledon, home to the annual tennis championships.

Due to complete in 2020, the proposals are commissioned following the conclusion of the tennis club’s 1993 Long Term Plan developments, which included a new roof for Centre Court by architects Populous.

You can see more projects by Grimshaw here, including a decommissioned blast furnace converted into a museum of steel.

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Media 10 buys 100% Design from Reed Exhibitions


Dezeen Wire:
publishing and events company Media 10 has bought design trade show 100% Design from Reed Exhibitions – Event Magazine

Here’s the full release from Media 10:


MEDIA 10 ADDS ‘100% DESIGN’ TO ITS EXPANDING PORTFOLIO OF EVENTS

Award winning event organisers and publishing company, Media 10 has acquired the leading interior design exhibition, 100% Design London from Reed Exhibitions.

Media 10, which runs the revived Ideal Home Show, Grand Designs Live and Clerkenwell Design Week add 100% Design to their portfolio of design and architecture events and magazines. On the publishing side, Media 10 owns Icon, OnOffice and The Clerkenwell Post. Since 2010, Media 10 has launched Grand Designs in South Africa and Australia, these being the first of a series of planned international ventures for the company.

100% Design was launched 15 years ago and is admired for being the country’s first and leading contemporary interior design exhibition. It is an event primarily aimed at architects, interior designers, specifiers and retailers but attracts a high percentage of visitors with a pure passion for design. The 2011 event, held at Earls Court, attracted over 18,000 visitors.

Lee Newton, Managing Director of Media 10 Ltd commented: “To add 100% Design to our portfolio shows exactly how far our company has come in only 9 years. We are delighted to be the new owners of this prestigious design event and it will complement our existing events and magazines perfectly. We have a proven track record for reviving and enhancing brands and delivering the very best exhibitions in the market and look forward to re-invigorating 100% Design.”

“We firmly believe that with the experience and contacts we have in this market the event will produce immediate growth in terms of exhibitors and visitors, as well as adding unique content, ensuring 100% Design flourishes for years to come. I can confidently say this because with our existing brands we cover the complete consumer demographic for home and design, with the Ideal Home Show and Grand Designs Live, and with Clerkenwell Design Week, we have an event that brings the very best in design to the trade in their environment. This acquisition will complete the circle and demonstrate that Media 10 – with the aforementioned events – and our publications in this sector are the leading UK Company in the market.”

Justin Tadman, Managing Director of Reed Exhibitions commented on the sale saying, “100% Design London is an iconic show and we believe the event will be enhanced by the synergies provided by Media 10 ‘s portfolio of design exhibitions and magazines. Media 10 is a well respected company and we are delighted to see 100% Design London continue with new owners who are so well established in the interior design sector.”

Reed Exhibitions continues to own and run 100% Design Shanghai and 100% Design Singapore, a recent launch, as well as several leading interiors events in Europe.

Media 10 will seek to include many of their existing clients into 100% Design London and believe that the scope for better content, more illustrious brands and speakers of the highest profile is all eminently achievable for the 2012 show.

Newton added: “We will look to engage with as many of the prestigious design companies as we can for 2012 and are committed to bringing in the best seminar programme that the industry has seen. We have a proven track record of filling our events with the very best in content and 100% Design offers us the opportunity to fulfil this again at Earls Court in September.”

The event will be split into four distinct areas, encompassing 100% Interiors, 100% Office, 100% Kitchens and Bathrooms and 100% Eco Design and Build– all will be entered by a Media 10 ‘trademark’ tunnel, delivering the visitor to the heart of the 4 zones. There will also be a design arcade – 100% New Design – showcasing new and innovative products from Britain’s best student designers. Within each of these areas there will be a mixture of exhibition space, interactive ‘feature’ installations and a celebrity chef restaurant.

The whole event will also offer a range of packages for sponsorship as well as VIP and student visitor programmes.

David Chipperfield reveals title for Venice Architecture Biennale 2012


Dezeen Wire:
architect David Chipperfield, the curator for this year’s Venice Architecture Biennale, has revealed that the title for this year’s show will be Common Ground.

In a meeting with festival president Paolo Baratta and representatives from each exhibiting country Chipperfield explained his intentions to highlight the “common concerns, influences and intentions” of architecture and to address the importance of “the political, social, and public realms” between buildings.

Chipperfield was officially named as curator of the biennale a few weeks ago – read our earlier story here.

Read Chipperfield’s full statement below:


13th International Architecture Exhibition. Common Ground

The President of the Biennale di Venezia, Paolo Baratta, accompanied by the Director of the 13th International Architecture Exhibition, David Chipperfield, met today at Ca’ Giustinian with the representatives of the 41 Countries participating in the 13th Exhibition, which will take place from 29 August to 25 November 2012 at the Giardini and at the Arsenale (Preview on 27 and 28 August 2012) and in various other venues in Venice. The meeting was attended for the first time by the representatives of Kosovo, Kuwait and Peru.

The title chosen by David Chipperfield for the 13th International Architecture Exhibition is: Common Ground.
“I want this Biennale to celebrate a vital, interconnected architectural culture, and pose questions about the intellectual and physical territories that it shares. In the methods of selection of participants, my Biennale will encourage the collaboration and dialogue that I believe is at the heart of architecture, and the title will also serve as a metaphor for architecture’s field of activity.

I am interested in the things that architects share in common, from the conditions of the practice of architecture to the influences, collaborations, histories and affinities that frame and contextualise our work. I want to take the opportunity of the Biennale to reinforce our understanding of architectural culture, and to emphasise the philosophical and practical continuities that define it.

The title ‘Common Ground’ also has a strong connotation of the ground between buildings, the spaces of the city. I want projects in the Biennale to look seriously at the meanings of the spaces made by buildings: the political, social, and public realms of which architecture is a part. I do not want to lose the subject of architecture in a morass of sociological, psychological or artistic speculation, but to try to develop the understanding of the distinct contribution that architecture can make in defining the common ground of the city.

This theme is a deliberate act of resistance towards the image of architecture propagated in much of today’s media of projects springing fully formed from the minds of individual talents. I wish to promote the fact that architecture is internally connected, intellectually and practically, sharing common concerns, influences and intentions.

My method of selecting architects will reinforce the theme by making collaboration and dialogue fundamental to the Biennale. We will invite contributors to make a proposals for exhibits or installations but also ask them to propose others they want to collaborate with. In this way, the initial selection by the curatorial team is complemented by a further series of relationships initiated by selected architects.

The proposed dialogues will hopefully cross boundaries of age, style, geography and discipline. They also might identify the critical roles of other parts of architectural culture: the media, research institutions, schools, publishers, galleries, foundations and so on. The results, I hope, will use every available medium to tell stories about the common ground of the profession, and of the city.

My intention is to make neither an exclusive selection of projects on the basis of prejudice and taste, nor an uncritically inclusive exhibition. We wish to give the participants an opportunity to explain work within the wider context of architectural practice, not only as a demonstration of their own talent, but also to unite us in defining our ambitions and responsibilities.”

“By appointing Kazuyo Sejima we brought the Exhibition back into the hands of an architect – President Paolo Baratta has said – and we are now so lucky to have David Chipperfield with us. The Biennale exhibitions in recent years had broadened the representation of architecture by emphasizing its connections with a series of big social, urban, environmental and political ‘issues’. So it appeared useful to turn to an architect who demonstrates great interest in architecture as a discipline and raises questions about the elements of which it is composed, about the objectives it pursues, about the constraints that affect it, about the tools that it uses to shape places, spaces, buildings. The next Architecture Exhibition will be characterized by the emphasis on a series of relationships that connect great architects and younger generations that refer to them. This Exhibition will represent a major opportunity to bring both the general public and the world of architecture up to date. This is also why it has already begun to organize the program involving Universities from all around the world, titled Biennale Sessions, successfully tested during the last edition of the Exhibition.”

The 13th International Architecture Exhibition of the Biennale di Venezia will also present, as is traditional, the National Participations with their own exhibitions in the Pavilions at the Giardini and at the Arsenale, and in the historic city centre of Venice.

This edition will also include selected Collateral Events, presented by international entities and institutions, which will present their exhibitions and initiatives in Venice concurrently with the 13th Exhibition.

Record-breaking number of skyscrapers completed in 2011


Dezeen Wire:
an annual report released by the Council on Tall Buildings and Urban Habitat in Chicago reveals that the number of buildings over 200 metres tall completed in the last year has increased for the fifth consecutive time.

Record-breaking number of skyscrapers completed in 2011

88 skyscrapers were constructed in 2011 in total, with the three tallest skyscrapers being Kingkey 100 in Shenzhen, the Al Hamra Firdous Tower in Kuwait City, and 23 Marina in Dubai.

Last month the CTBUH predicted what the tallest buildings will be in the 2020 – see the results of that report here.

Critics’ reactions to A Room For London


Dezeen Wire:
 this week architecture critics have been discussing A Room For London, a boat-like apartment on the roof of the Southbank Centre that will accomodate temporary overnight guests throughout 2012. 

Writing for The New York Times, Elias Redstone declares the project a “wonderfully surreal vision” that “originated from surprisingly practical concerns,” namely the tight budget and challenging location.

An account from The Guardian’s Liz Bird gives an insight into what it is like to stay in the vessel. She writes: ”the pièce de resistance is the snug upper deck, filled with London-themed books, which we quickly rename ‘The Bridge’ and where we write up the ship’s log”.

Observer critic Rowan Moore praises the project as “an enjoyable and well-made jeu d’esprit”, but warns readers not to be disillusioned into thinking of the project as an aid to urban regeneration, stating that “it is not a prototype for future Thames-side development”.

Contrastingly, Edwin Heathcote of the Financial Times discusses the “unheimlich” (uncanny) qualities of the rooftop apartment’s nautical aesthetic, and controversially compares it to the “shocking and visceral images of the aftermath of the Japanese tsunami last year” when fishing boats were “left marooned on roofs after the waters had subsided”.

A few Dezeen readers got caught up in the fun aspects of the project, with one keen to “spend all day interpreting scenes from Jaws” and another imagining images from Mary Poppins – see all our readers’ comments here.

You can see images of the project in our earlier story here, or see more stories about the instigating organisation, Living Architecture, here.