In revisiting Volume’s (pre)history In Volume 58: The Legacy, we conducted an interview with Hans van Dijk, editor-in-chief of Volume’s predecessor Archis during the 1980s. An exchange on the role of architecture criticism in general and the magazine in particular at the time. The sad news that Hans van Dijk passed away August 26, 2021 transforms this exchange between colleagues in search of motives and motivations into a testimony of what architecture criticism once stood for and what it may potentially be capable of today.

Vertical isolation is the term that best defines social distancing in São Paulo. Now that the pandemic has intensified the deceleration, the millions of people who strolled around its streets and shopping centers were left watching through their windows over the absence of urban flow.

When humans invent things, for the first 30 years they call those things 'technology'. Then, when it's successful, they begin to call them 'infrastructure'.

Ever since the first edition in Vienna, multiple souls have coexisted within the term Media Architecture: the aesthetic as much as the theoretical, the interactive as well as the political.

With the world finally discussing solutions to avoid climate disaster, media artist Andrea Polli already has two decades of experience under her belt. Situated at the intersection of technology, science, and art her artistic practice explores the materialization of elusive atmospheres, transforming the ephemeral into media architectures. Andrea Polli discussed with Denisse Vega de Santiago.

“Toronto swaps Google-backed, not-so-smart city plans for people-centered vision”, The Guardian headlined on March 12, 2021. For years, the tech giant had attempted to gain a foothold in smart city development, via its ‘urban intelligence’ spinoff Sidewalk Labs.

We publish some of the correspondence of Non-Professional Practice, a series which was sparked by 3 years of conversations at Harvard GSD, and by Sol’s advice to “learn to say ‘Fuck you’ to the world once in a while”. Artists, curators, writers, architects, designers, and students speaking to practice as a form of constant interrogation of the self, of failure and experimentation, of leaps and stumbles, of adaptation and restlessness.

Imagine, the revolution has broken out and architecture has nailed its colours to the mast. It has opted for change.  Architects have laid out the facts about the inequality in land ownership, inheritance law, capital accumulation, and the resulting segregation, an inequality they have observed first-hand for many years, have helped shape or even profited from. These experiences from direct spatial practice now lend legitimacy to the revolution. 

We're sharing the experiences of Rodrigo Tomás and his firm RETA, the topic of Reinier de Graaf’s forthcoming novel The Masterplan, to be published in the fall of 2020.

At the 2018 Venice Biennale the Unfolding Pavilion was praised as one of the best exhibitions to visit. With one catch: the Biennale knew nothing about it. Now that they are about to launch the new exhibition on December 17th, Francesco Degl’Innocenti talks to the minds behind the initiative – Daniel Tudor Munteanu, Davide Tommaso Ferrando and Sara Favargiotti – about the genesis, the physiology and the future mutations of this curatorial parasite.

If there is a system change today, it is the way default solutions are being questioned and powers are forced to move. If not away, then at least in a direction they previously thought unthinkable. 

Rem Koolhaas cross interviewed by Christophe van Gerrewey, Arjen Oosterman and Christophe Catsaros on Countryside, The Future, the pandemic and architecture. Rotterdam, June 26th, 2020.

Taking the Country’s Side is an exhibition exploring “the complex relationship between architecture and agriculture over the past 10,000 years.” Curator Stéphane Marot's position may be comparable with the one Beatriz Colomina and Mark Wigley developed in their Istanbul Design Biennial for Are We Human? show, exploring 200,000 years of design. Design is not something new but deeply human and therefore present from day 1 of human’s presence on Earth. Christophe Catsaros sat with Sébastien Marot to discuss the contexts of this exhibition, the concerns and problems it shows and the message of hope it ends with.

Eventually, Susy found a job in an industrial warehouse. The company, one of the fastest growing online supermarkets in the country. A company which of course she’d never heard of before.