Perspectiva exterior por Nicolás Belcic. Image Cortesía de Bruno Stagno
From Costa Rica, architect Bruno Stagno not only reflects on how responses to the environment can be the main basis for inspiration and identity in architecture but also proposes going a little further, with contemporary tropical architecture for an entire latitude.
What happens when these limits are extended? What happens when these motivations escape outside of the tropical context? Bruno Stagno presents here the project "A Mangrove for Berlin", his participation in the 1995 competition for the Reconstruction of the Berlin Academy of Architecture, "Berliner Bauakademie", an emblematic work of the architect Friedrich Schinkel.
The Futuro House is a unique, futurist-style dwelling designed by Finnish architect Matti Suuronen in the late 1960s. The house was envisioned as a portable, prefabricated structure that could be easily transported to remote or difficult-to-reach locations.The house has a distinctive flying saucer shape, with a circular floor plan and a domed roof. The outer shell of the house is made of reinforced fiberglass, with a high-gloss finish that gives it a futuristic look. It sits on four legs, which elevate it slightly off the ground and provide stability on uneven terrain.
While the city of Berlin has a long history, dating back to the 13th century, its architecture and urban fabric has undergone the most significant changes during the last century, reflecting the impact of major historical events that took place in the German capital. During the early 20th century, Berlin transformed into a modern metropolis, marked through the construction of grand buildings and imposing structures to demonstrate the city’s growing economic and political power. The 1920s and 1930s saw the emergence of the Modernist movement, which, together with the Bauhaus school of architecture founded in 1919, influenced the image and urban fabric of Berlin.
During the Second World War the city was heavily bombed, resulting in the destruction of many historical buildings. During the post-war period, reconstruction efforts focused on rebuilding infrastructure and housing, while the city remained divided until 1989, with the fall of the Berlin wall. After this period, Berlin witnessed a renewed interest in architecture and urban design. Interventions such as David Chipperfield’s Neues Museum aimed to rebuild historical monuments without erasing the markings of their difficult past. Other projects such as the renovation of the Reichstag had a different purpose. Norman Foster’s intervention intended to keep the image of this building but change its symbolism from a structure representative for the Nazi regime to one embracing the ideals of democracy and equality.
The Law of Polarity holds good in relation to human society and cultures as well - everything has an opposite. Countercultures have erupted as condemnations of “the ways of the world”. A countercultural movement expresses the ethos and aspirations of a population during a specific time. As new lifestyles are explored, supporting architecture evolves to satiate the utopian ideals of new societies. Architecture is a product of the culture it is designed for.
In an effort to address the architecture industry’s environmental impact, Henning Larsen is presenting the “Changing Our Footprint” exhibition at AedesArchitecture Forum in Berlin. The event features the small but scalable steps that the office is taking to move towards a more desirable future through the projects they are designing and the research they are conducting. The exhibition aims to be an engaging event, inviting visitors to participate in the dialogue, to think critically about the proposed solutions and initiatives, and to ask difficult questions in the search for better outcomes. The exhibition is open until March 22, 2023. Henning Larsen will also host a series of panel debates at the AedesArchitecture Forum from February 22 to March 14.
