Beinecke Library Construction Photographs, 1961-1963
New Haven, by SOM.
The building, made of Vermont marble, granite, bronze and glass, was designed by Gordon Bunshaft, of Skidmore, Owings and Merrill. White marble panels, gray veined outside, are part light gray Vermont granite. These marble panels filter the sunlight to rare books so that they can be displayed without being damaged by ultraviolet light. From the outside, however, the stone building geometry serves to dominate the space it occupies in the University.
A recent report by the UK Architectural Education Review Group has highlighted the high cost of education as a barrier which prevents less wealthy students from accessing the profession, reveals BDonline. Among a number of concerns raised about the current state of architectural education, it says that the cost to study architecture in the UK could “create an artificial barrier to the profession based solely on a student’s willingness to accept high levels of personal debt”.
Architecture has long been seen as a pastime of the wealthy, as evidenced by Philip Johnson‘s claim that “the first rule of architecture is be born rich, the second rule is, failing that, to marry wealthy”. However, the report acknowledges the fact that making the profession open to people of all backgrounds is not only a moral imperative, but will be vital to bring the best talent into the field.
Revitalisation of Birzeit Historic Centre (via)
This five-year project, part of a rehabilitation master plan initiated by Riwaq, has transformed the decaying town of Birzeit, created employment through conservation and revived vanishing traditional crafts in the process. Community involvement was encouraged from the start, including local NGOs, the private sector, owners, tenants and users, all working with the municipality. Both historic buildings and public spaces have been rehabilitated into community activity hubs. Replaced sections of wall remain distinguishable from the original structures, without harming architectural coherence. Lost features were replaced where there was clear evidence for their former appearance, such as floor tiles with Palestinian motifs. Affordable traditional techniques and local materials were used throughout. Where no historical models were available, new elements were made in a bold contemporary spirit.