Re-Cognitions at the Centre for Research Architecture
Jeroen Beekmans

The Centre for Research Architecture in London sets the stage for Re-Cognitions, a MA Research Architecture end-of-the-year exhibition that features the work of Yasmine Abboud, Olympia Anesti, Nick Axel, Jacob Burns, Jesse Connuck, Rodrigo Delso Gutierrez, Yi-Hui Lin, Frank Mandell, Basima Sisemore, and Alan Yates. Opening is today at 6 PM.

Think Space Unconference
Jeroen Beekmans

The annual theme Money and its questions posed by the Think Space 2013/2014 guest curators Ethel Baraona Pohl & Cesar Reyes Najera will undoubtedly trigger conversations at the upcoming Unconference event at Lauba, People and Art House in Zagreb, 11-13 June 2014.

‘The Culture of Making’ Debate & Volume #39 Launch
Jeroen Beekmans

As curators of 'Re-Creation – the Resilience of Architecture', Juulia Kauste and Ole Bouman would like to invite you to join the debate ‘The Culture of Making’ and celebrate the launch of Volume #39 as catalogue of the past Urbanism\Architecture Bi-city Biennale Shenzhen, and featuring the contribution of Anssi Lassila at the Alvar Aalto Pavilion of Finland, Giardini di Castello, Venice.

Open: A Bakema Celebration
Jeroen Beekmans

The Dutch entry to this year's Biennale will examine the work and ideas of the architect Jaap Bakema during the exhibition ‘Open: A Bakema Celebration’; a critical reflection on the idea of the open society through Jaap Bakema’s work and research. This Friday at 18:00 the exhibition will be officially opened.

‘Behind the Green Door’ Book Launch
Jeroen Beekmans

This week, Volume's editorial team will be heading for Venice to visit 2014's Biennale. We will be attending and/or co-hosting several gatherings and events. This Friday, Volume editor-in-chief Arjen Oosterman will be interviewed during the launch event of the book Behind the Green Door at the Nordic Pavilion.

Belgium architectural historian Geert Bekaert has quite a few footholds in the Netherlands. To name a few: He was professor at the TU Eindhoven in the 80s and member of the editorial boards of TABK and Wonen-TABK in the 60s and 70s. In the 90s he became Editor-in-Chief of Archis (1990-1995). Architects who met him as students during their education often express being deeply stirred by his intellectual input. The Dutch world of architecture, however, has hardly been touched by his presence. That seems telling for the segregation between architecture and history in the Netherlands and indicative for Bekaert’s connectedness to present-day architecture. This relation is more complex in his own country: it is hard to overestimate his influence on Belgium’s academic intellectual climate. The same can be said about his influence on the position of architecture in Belgium, as far as this was open to influence at all.

Back in Stock: the Volume Shopping Bag!
Jeroen Beekmans

The unique Volume shopping bag is back in stock! Conceptualized by designers Daniel van der Velden and Maureen Mooren, the text was originally conceived as a T-shirt print, we couldn't resist re-publishing it now that it is again so actual. Get one of these limited edition Dutch Design icons for only €10, worldwide shipping included!

Prizing the Critique
Arjen Oosterman

The Netherlands has two new prizes, the Geert Bekaert Prize for Architecture Criticism and the Simon Mari Pruys Prize for Design Criticism. They’re promoting ‘a vibrant design culture’ by stimulating writing and reflection and awarding the prize to one critique, not to a critic. Initiated by Archined and Design Platform Rotterdam they were awarded for the first time in Amsterdam on March 20th 2014. For architecture the award went to Plain Weirdness: The Architecture of Neutelings Riedijk, a text in El Croquis by the former Director of the Netherlands Architecture Institute, now Director of the Cincinnati Art Museum, Aaron Betsky. The Simon Mari Pruys Prize went to Sander Manse for his essay on the use of models in designing design.

Plain Weirdness: The Architecture of Neutelings Riedijk
Aaron Betsky

What is essential about the work of Neutelings Riedijk is its plain weirdness. The two aspects of this definition are essential. The use of form and materials that are familiar, simple, and sometimes even primitive grounds the strangeness, the baroque involutions, and the haunting quality that gives the work its power. These architects know how to mine the vernacular to find within it the material that both grounds us and connects us to something bigger, stranger, and older than we are. Their buildings use this basis to teeter between abstraction and reference, creating a blur that allows us to intuit forms, images and spaces that the designers only imply. Finally, Neutelings Riedijk’s buildings become stages on which we can act out the roles to which we would like to become accustomed, sometimes as masques in which both the structures and we are actors, and sometimes directly, when the buildings’ interiors become, more often than not, stages.

0