David Chipperfield, Am Kupfergraben, Berlin. During a recent trip to Berlin, Germany, I made a point to revisit the Gallerie Am Kupfergraben (Berlin Mitte district), completed between 2003-2007 by British architect Sir David Chipperfield. This was not the first time that I had paid a visit to the building—both for the inside and outside architectural qualities. Disappointingly, the Gallery was closed the day of my visit this time.
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Light tower, Verkehrskanzel, Berlin. When visiting European cities I am always much more aware of the urban realm than when I am at home. Perhaps this is because of my European upbringing, coupled with growing up in cities. This early initiation gave me a foundation to better understand the richness of cities and, in particular, the ceremonial spaces of the seat of the Habsburgs in Vienna, were I lived between the ages of five and twelve.
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Hong Kong: Bauhaus style Central Market. Previous research on the Central Market in Hong Kong, resulted in a blog describing the genesis of the market through 1850. After 1858, the building—originally called Canton Bazaar, thereafter Middle Bazaar—was rebuilt, and from there on was officially named Central Market. The 1903 map (Image 2, below) suggests the market was a rather large structure.
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Hong Kong: the history of Central Market. Since ancient times, public markets—coined mercatus in Latin, which means trading, dealing or buying, as well as the physical place where those activities occur—have served as the identity and social lifeline for countless cities and towns. Food markets in particular have played a significant role as community-gathering places.
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Hotel Park Royal Collection Pickering, Singapore. Cities have always been close to my heart because of the many iconic places that endow them with a specific identity. For me, beyond a city’s historical monuments, the overall urban charm, historical grandeur, and regional cuisines, what I most cherish is a city’s distinctiveness in how it brings to life transient places such as hotel properties; properties which are often part of a heritage of historical and cultural significance.
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People’s Park Complex in Singapore-Part 3. Re-invention is what has always interested me professionally and as a teacher of architecture. Perhaps seen through a conceptual lens, the sketch below shows the simple yet straightforward transposing of a colonial morphology into a new modernist ideal of the 1970’s urban renewal program.
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People’s Park Complex in Singapore, Part 1. There are some buildings that at first do not strike you. In fact, their demeanor reflects your preconception of what is good or bad architecture—an attitude that is far too often spontaneous and not rational enough to constitute a meaningful critique. For me, this was my dislike of the People’s Park Complex in Singapore.
“…a brutal high-rise slab on a brutal podium,” that is “in fact a condensed version of a Chinese downtown, a three-dimensional market based on the cellular matrix of Chinese shopping —a modern-movement Chinatown.”
Rem Koolhaas and Bruce Mau, S,M,L,XL
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The People’s Park Complex in Singapore, Part 2, (called the Grande Dame of modern Chinatown or an Emblem of Asian Modernism) was part of the experimental architectural megastructures described by architectural historian, Reyner Banham and was built in two stages.
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Giuseppe Terragni, Casa Rustici. After visiting the Casa Lavezzari, followed by a delectable apricot-filled croissant and Italian espresso at a local Bar-Tabacchi (coffee bar that sells tobacco and stamps in addition to drinks of all sorts), I located a nearby metro entrance and rode to the Domodossola station in the western part of Milan.
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Giuseppe Terragni, Casa Lavezzari. I feel conversant with key projects of Italian architect Giuseppe Terragni (1904-1943), particularly those built in Como; a provincial city on Lake Como just an hour north by train from Milan. The Casa del Fascio (1932), Sant’Elia nursery (1937), Novocomum (1929), and the Casa Giuliani-Frigerio (1939)—the latter two being apartment projects—are emblematic of Terragni’s oeuvre and continue to be observed, researched, and used since his early death at the age of thirty-nine.
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