Curated by Itinerant Office, the book ‘ATLAS of emerging practices: being an architect in the 21st century’ has just been launched at the New Generations Festival in Rome. Volume editor Francesco Degl'Innocenti sat down with Itinerant Office founder Gianpiero Venturini, to discuss the findings of their research on the European context, and break a few misconceptions about the profession.

How do we live forever? Cultural memory is something which binds individuals together across time and space, creating the sense that although mortal, there is a greater continuity persisting both in the pre-life and after-life.

The establishment of the Convention for the Safeguarding of the Intangible Cultural Heritage (ICH) in 2003 marked a profound shift in the custodial objectives of UNESCO as an organisation and the mechanisms it utilises preserve global culture. Since the introduction of the Convention Concerning the Protection of the World Cultural and Natural Heritage (WCH) in 1972, Unesco policy had, to that point, been driven and dominated by a single, concise, and ultimately incomplete mandate; namely, the evaluation and preservation of material structures.

In the hierarchy of major themes that shaped the modern spirit in architecture, hygiene, the imperative of a more salubrious habitat and city, is undeniably at the top of the list. With the book 'X-Ray Architecture', Beatriz Colomina, historian and theoretician of architecture and teacher at Princeton, chooses to make this a structuring principle, more to do with the fear of death and the repressed unconscious than the spirit of innovation. Is modern architecture as hysterical as that of the Baroque period?

One thing gentrification thrives on is heritage. Whether it is the grand redbrick houses of a run-down neighbourhood, or the rich and diverse culture of working-class areas, the middle-class drivers of gentrification are attracted by a sense of history. But as much as gentrification fetishizes heritage, it consumes it, mutates it, and sometimes destroys it.

The story of Liberland, an anarcho-capitalist utopia founded on the Danube in 2015, needs to be told in the inverse direction than that of traditional national founding stories. Rather than a land that gets retroactively invested with a founding myth, it is a founding myth actively searching for a land – and using any means to get there. Hans Larsson met with the President and architect of this Eldorado 2.0

We’re hunter gatherers by nature (yes, women too). And hoarders. We cling onto stuff. We collect during the significant moments of life, only to let go when we move house or get within eye sight of our final destination. There is a fine line between ‘to possess’ and ‘to be possessed’, but either way, there are not many of us that take pride in owning nothing. Whoever had the opportunity to visit one of the main interior lifestyle fairs in Europe or elsewhere will recognize the feeling of despair in the face of the limitless amounts and varying multitudes of ‘stuff’. And yet, we don’t seem to want to do without (anytime soon). Discover the full Volume 55 'Intangible Cultural Heritage' editorial.

In her book 'The Battle for Home', the Syrian architect Marwa Al-Sabouni focuses on Homs and how the city was destroyed by architecture even before the war began. Lilet Breddels discussed with her in Amsterdam last December, when she received a prestigious Prince Claus Award for her contribution to architectural thinking.

The ‘New Europe’ and Controversy Around the European Idea – an international conference and workshop at the National Museum-Institute of Architecture after Alexander Tamanyan, Yerevan (March 30, 2019).

As supplement to Volume #54: On Biennials, we published a catalogue of the first seven Bi-City Biennales of Urbanism\Architecture (Shenzhen). Juan Du, one of its curators and contributors from the first one on reflects in this publication on the conditions that surrounded the start of this biennial.

“Hundreds of thousands get made, blood, sweat and editorial tears go into them, yet barely a whimper is told about their relative merits.”

As curator of the Dutch pavilion in Venice last year, Marina Otero had to confront the complexities of a biennial, the Venice one in particular. General theme, individual content, format, design, audiences, logistics, time-span, attention-span, it was all in the equation. Add to that the ambition to be relevant (more than an ad), and the puzzle is complete. How to survive the Biennale and still have fun?

The measure of an architecture biennial’s success is how gloriously it failed. This holds a fortiori for the Venice one; too big to ‘swallow’ as visitor, too complex to manage as curator. The biennial as format and phenomenon was declared dead or obsolete time and again, it was discarded as commercial, promotional, touristic, capitalistic, wasteful, white supremacist and what not. In the end, that is not the issue. The issue is the tension between expectations and pretension, between agency and result. Any art or architecture exhibition can be just that: the presentation of good and interesting work. For an architecture biennial, that position is hardly available. Something more should be expected. The format may be malleable, it should add to our understanding of where we are at present, what is of prime importance, where we may be going or could want to go. Even if a biennial isn’t able to provide conclusive answers, the minimum should be to pose relevant questions.

As a sneak peak into our next issue Volume #54: On Biennials, we are glad to feature In Statu Quo: Structures of Negotiation; this article is based on the eponymous book of the curators Ifat Finkelman, Deborah Pinto Fdeda, Oren Sagiv, and Tania Coen-Uzzielli, whose topic Status quo was the theme of the Israeli Pavilion at the 16th International Architecture Exhibition, La Biennale di Venezia.

Shortly after the release of Volume 53: Civic Space, we realized that we left out a crucial group of stakeholders, animals. Starting from the ecosystem designed for the ‘Chickenville’ project, we discussed our shortcoming with SKROZ Architecture. Our conversation, informally carried out via messaging apps, shone a light on yet another sensitive term of mediation often forgotten in architecture: humour.

It’s been seven years since Daan Roggeveen and Michiel Hulshof published How the City Moved to Mr. Sun, the story of mass urbanization in China. It looked specifically at the mechanisms behind this phenomenon and the challenge to host the next 300 million people during the coming twenty years (starting from 2010). After Ole Bouman’s reflection on the Venice Architecture Biennale two weeks ago, this is the second prelude to Volume #54: On Biennials with a special on the UABB\Shenzhen.

While the feeding robot slowly passes by, cow 9273 bumps with her nose against a big round brush. It looks like the ones in the carwash that clean the rims of your car, but then bigger. Food is not what she’s after right now, her itching back is demanding all her attention. Cow 9273 has to push several times before the brush starts slowly spinning, but when it does, she treats herself to a firm back massage. Welcome to dairy farm ‘The Promised Land’ where 1.5 fte and nine robotized computer systems manage a herd of 280 cows plus 180 ‘youngsters’.