IT automation began as simple scripts passed to a system's command-line interface, but became much more sophisticated -- and programmable -- with infrastructure virtualization. IT staff members have had to broaden their skills accordingly.

IT automation can now exploit powerful APIs and intent-based systems, which add another layer of abstraction, enhanced by machine learning models that adapt to changing conditions. The integration of highly automated IT and application development requires careful planning, design, product evaluation and testing. This has fostered a new IT role within many organizations, and particularly DevOps shops: the automation architect.

The IT automation architect role is new enough that there isn't a widely accepted definition for the job. The role undoubtedly gained IT executives' attention amid the costly proliferation of often-redundant automation tools and processes -- a trend identified by analyst firm Gartner. The firm contends that this proliferation hinders infrastructure scalability, and that by 2025, the most sophisticated IT organizations will have a formal strategy to address ad hoc automation issues.

In general, an automation architect is one of the most senior positions in IT, overseeing all decisions related to IT and development automation strategy and policy. As such, architects must work with a variety of technical teams and business units to assess needs, define projects, win support for key initiatives and manage them to completion.

Specifically, IT automation architects have the following responsibilities:

IT automation architects are typically found in DevOps organizations. It's fruitless to focus on a comprehensive automation strategy without a cooperative, integrated DevOps structure already in place. Because of the specialized nature of the job, architects are typically found in larger enterprises or those, like many cloud-native startups, that have mature DevOps practices.

There's a wide variety of job titles and associated skills found under the DevOps umbrella. For example, a recent DevOps skills report from the DevOps Institute, a learning association for DevOps professionals, identified more than a dozen DevOps job titles for which organizations are hiring. "DevOps engineer/manager" was the most common title, cited by 51% of survey respondents -- who were comprised of IT professionals, DevOps practitioners, HR managers and consultants. "Automation architect" was the 9th most cited job title at 15%. The following chart summarizes other notable job titles and their response rates.

When the same group of survey respondents was asked to rate the importance of various skills to DevOps work, proficiency at automation ranked at the top, with 66% citing it as very important and only 1% listing it as optional or unimportant. Of equal importance were process skills and knowledge, with only 3% listing these as unimportant. It's not surprising that these are ranked as the most essential DevOps skills; you can't automate a process you don't understand and haven't fully defined.

Aside from a thorough understanding of DevOps processes, other valuable skills for the automation architect and engineering role include:

The automation architect role is an excellent career path to upper management, as it exposes practitioners to a variety of technical problems, business requirements and management situations.

Automation architects are still a rare breed in enterprise IT organizations. Nevertheless, with the rising complexity of cloud infrastructure, a desire to deliver new products and services more quickly, and current financial requirements to do more work with fewer resources, holistic process automation will become a critical component of top IT organizations.

As the leader of automation strategies and projects, architects will emerge as some of the most valued members of IT leadership teams. Indeed, Gartner predicts that more than 90% of enterprise infrastructure and operations organizations will have an automation architect by 2025 -- up from less than 20% in 2020.

The benefits of automation to IT are many, including higher efficiency and process repeatability. However, the benefits to individuals pursuing the architectural role are equally great. For example, recent data from job site Glassdoor suggests the average salary of automation architects is about $80,000, with many listings in six-figures. As more IT and development tools add AI automation features, it will only increase the value for highly trained and experienced automation architects.

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Prepare for the rise of the IT automation architect - TechTarget

7 Seventy House is defying the odds in Hudson Countys rental market, recording a high level of spring velocity thats propelled the luxury new. apartment building in Hoboken, N.J. past the notable mark of 70% leased.

While much of New Jerseys Hudson River Gold Coast has experienced slowed activity as the coronavirus pandemic took hold, The Marketing Directors, the exclusive leasing and marketing agent at 7 Seventy House, has reported steady leasing at the 424-home building.The landmark Marchetto Higgins Stieve Architects (MHS Architects)-designed building features a 14-story high rise tower with multiple terraced setbacks, a glass and brick exterior and a distinctive columned entryway.

The uninterrupted pace has been fueled by the large pool of renters exclusively seeking brand new apartments, and the implementation of a comprehensive digital presentation that allows prospects to remotely view 7 Seventy House with one-on-one interactive virtual tours of the fully-furnished model apartments and world class amenities.

The newsworthy leasing mark was achieved simultaneously with another significant milestone at 7 Seventy House. Developer Bijou Properties and partner Intercontinental Real Estate Corporation have announced the building is now over 50% occupied.

7 Seventy House was developed in conjunction with a two-acre public resiliency park right outside the building. The 7th and Jackson park features a public plaza with step seating and tilted lawn panel, large plaza to accommodate vendors and seasonal markets, a childrens playground, a one-acre green space designed for active and passive recreation uses and a state-of-the-art 6,835 square-foot community gymnasium.

7 Seventy House boasts a comprehensive 90,000 square-foot resort-style amenity package that includes its residents-only outdoor spaces. Theres also a penthouse pool with lounge seating, expansive amenity deck with BBQ stations, bocce ball court, state-of-the-art multi-level gym, play room, game room, indoor bike storage, on-site dog park, dog grooming room, alcove with coworking lounge and coffee station and a conference room with access to an outdoor lounge with a fire pit. Many of the amenity spaces boast views of the Manhattan skyline.

Beyond the private amenities, 7 Seventy House will offer services that include a 24-hour attended lobby, Hello Alfred concierge service and covered parking. Theres also approximately 24,000 square feet of ground floor retail space that will serve residents and the Hoboken community.

Studio, one-, two- and three-bedroom residences at 7 Seventy House feature open floor plans with red oak engineered wood floors and expansive windows that bathe the homes in natural light. Kitchens boast Quartz countertops, white ceramic tile backsplashes, custom cabinetry, and a premium GE stainless-steel appliance package, with in residence Bosch washer and dryers. Luxury baths are outfitted with grey mineral stone tile and Kohler fixtures.

Monthly rents start in the $2,600s, with limited-time incentives that include six weeks free on a 13-month lease.

Situated just steps from the 9th Street Light Rail Station, 7 Seventy House blends an upscale living experience with the convenience of quick access throughout New Jerseys Hudson River Gold Coast, including Hobokens PATH, New Jersey Transit and Ferry terminals with service to Manhattan. Closer to home, theres a wide range of services and cultural attractions available in the Monroe Center, the premier arts and business community in Hoboken, which boasts artist studios, childrens activities, fitness facilities, eateries and much more.

7 Seventy House has launched a newly produced virtual tour program to remotely accommodate prospective residents. The tour is part of one-on-one interactive presentations being conducted by leasing agents through personal Zoom meetings. Please visit the buildings website atwww.7SeventyHouse.comor call 201-795-0770 to schedule a virtual tour.

Original post:
Over 70% of Luxury Apartments at MHS Architects-Designed 7 Seventy House in Hoboken, NJ Now Leased | Dean Marchetto Architects, PC (now Marchetto,...

Transformation The Hinge / Niels Olivier Architect

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Text description provided by the architects. In the woods just north of the city of Arnhem a new neighborhood is being developed under the name 'Buitenplaats Koningsweg'. This former military site will be transformed into a cultural enclave. The complex is known as 'De Scharnier', or in English 'The Hinge', is situated at the heart of the enclave. These interconnected buildings, erected at right angles to one another, used to accommodate the military theater in one 'leg' and the restaurant in the other, but have now become the home, workshop, and studio of a well-known artist.

Most buildings on the military site date back to the 1960s and 70s and are in a bad state, but for reasons of sustainability, it was decided to reuse and repurpose the buildings as much as possible. When it comes to The Hinge, were forced to renew the facade or the roof we chose contrasting materials like steel and timber. All exterior walls are now insulated in compliance with Dutch building regulations. The colors used in the transformation, different tones of gray, were prescribed by the main urban plan, but also the use of industrial, bold materials. This also meant that all the original brickwork had to be painted gray. The whole complex is heated by means of an energy-saving pellet installation. With solar panels on the roof of the House, it will ultimately be almost energy neutral. The swimming pool is unheated, being purified by natural filters such as plants and gravel.

In its original state, the southern 'leg' of the building was strikingly unsuitable to house a family. The building comprised a block of toilet rooms, a restaurant kitchen with a bar, and a dining area, spread over two floors. Therefore, we introduced two major interventions. Firstly we designed a void in the center of the building, linking the living room on the first floor to the garden by means of staircases. This void also divides up the former large restaurant area on the first floor into two well-defined spaces: the family kitchen and the living room. The bedrooms and bathrooms are situated on the ground floor on either side of the void. Secondly, we added an extension at the head of the House, which provides the first floor with a dining room and a balcony. The roof is supported by beautiful wooden trusses. These were cleared of several layers of paint and were treated with a transparent coating to bring out the warm color of the wood.

The facades of the House were partly renewed. The north side looks out on the quiet, enclosed private garden. Slim aluminum window framing was placed within the original structure. Plenty of daylight comes in without the problem of overheating in Summer. On this side the charm of the original sixties architecture is evident. The south side of the building, looking out on a public road and a small restaurant, is much more closed, so as to guarantee privacy. The decayed original facade and the roof were replaced by contemporary well-insulated versions consisting of wood and steel. A quirky composition of large square windows and elongated horizontal ones symbolizes the transformation. The windows are equipped with electrically operated folding panels, perforated to filter the sunlight and designed to prevent people from looking in. The main entrance hall is a divergent mass that links up the House with the office and workshop. Facing southwards, the large windows as well as the front door are covered with horizontal louvres in a vertical framework made of thermally preserved Accoya wood.

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Transformation The Hinge / Niels Olivier Architect - ArchDaily

Architect Alex Josephson, co-founder of Toronto studio Partisans, speaks to Dezeen in a live Screentime talk sponsored by Enscape as part of Virtual Design Festival. Watch the broadcast live from 2pm UK time.

Toronto-based architect Josephson will speak to Dezeen's founder and editor-in-chief Marcus Fairs about the work of Partisans, the studio he co-founded alongside Pooya Baktash and Jonathan Friedman.

Amongst the studio's recent projects is The Orbit, a futuristic masterplan for the rural Canadian town of Innisfil that includes drone ports and infrastructure for autonomous vehicles.

Last year, Partisans collaborated with Google's urban planning wingSidewalk Labs to create a prototype for a 'raincoat' that extends from a building's facade to protect the pavement in front of it in harsh weather.

The prototype was developed as part of Google's recently abandoned plan for Sidewalk Toronto, a smart city proposed for Toronto's waterfront.

Partisans also created The Grotto, a wooden lakeside sauna with a burnt-timber exterior and a cavernous cedar interior, located on the shore of Lake Huron, north Toronto.

The studio is also behind the mahogany interior of Toronto's Bar Raval, which references Barcelona's art nouveau pintxos bars.

Other creatives featured in our Screentime series includedean of the Pratt Institute School of Architecture Harriet Harriss,trend forecaster Li Edelkoort,UNStudio founder Ben van Berkel,The World Around curator Beatrice Galilee,filmmaker Gary HustwitandBritish-Israeli architect Ron Arad.

This Screentime conversation is sponsored byEnscape, a virtual reality and real-time rendering plugin for architectural design programmeAutodesk Revit.

Virtual Design Festivalis the world's first online design festival, taking place from 15 April to 30 June. For more information, or to be added to the mailing list, contact us atvirtualdesignfestival@dezeen.com.

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Live interview with Partisans architect Alex Josephson as part of VDF - Dezeen

The M Station office/retail redevelopment will be both functional and beautiful, project attorney Frank Vitolo told the Morristown planning board on Thursday.

For nearly three hours, architects pitched a people-centered design for a vibrant new destination in town.

They said elements will include a green wall and polyester scrim murals, possibly depicting local historical scenes, on the six-story parking deck.

Two terra-cotta sided office buildings, standing six- and seven stories, will be in slightly different shades of umber, to appear less monolithic.

A terraced plaza will be suitable for concerts and poetry readings, the board was told. Light-colored pavement, new trees near the deck, and plantings in the proposed traffic roundabout should prevent the four-acre site from becoming a heat island. Low-reflection windows should prevent birds from killing themselves.

The overall look is informed by George & Marthas American Grille, across Morris Street, and an apartment building under construction at 45 Market St., according to project architect Peter Wang of the Gensler firm.

Youre filling in a piece of land that has meaning and context to it it forces the architect to respect what is there, what Morristown looks and feels like. You cant just drop something in like its from outer space, Wang testified.

Slideshow screenshots by Kevin Coughlin. Click / hover on images for captions:

Scotto Properties and SJP Properties aim to replace Scottos Midtown Shopping Center strip mall at Morris and Spring streets with nearly 400,000 square feet of offices and retail, a parking deck, promenade, plaza and traffic roundabout.

Big Four accounting firm Deloitte has been announced as an anchor tenant.

Approved by the town council last October, M Station needs site plan approval from the planning board.

Thursdays meeting, conducted via Zoom because of the pandemic, was M Stations third before the board. An engineer and a traffic consultant testified previously.

When everyone Zooms back on June 11, 2020, Vitolo intends to present details on stagingwhen each piece will be built, and how those pieces will function as construction unfolds.

A fly-through by project consultant Roger Smith showed board members renderings of M Station as viewed from Morris and Spring streets; Spring Place; the Spring Hills assisted living center behind the site; and from the post office, near the Morristown Green.

Board Chairman Joe Stanley described it as one of the better design presentations hes seen. Wang insisted the real thing will surpass the drawings.

PENTHOUSES?

There were some questions. Board member Dick Tighe asked about lost revenue from metered parking spaces that will be eliminated on Morris Street and Lackawanna Place. Vitolo said he will discuss that next week with the Morristown Parking Authority.

Mayor Tim Dougherty said hes not convinced that 11-percent reflective windows and dimmed lights at night will avert bird strikes. He also sounded lukewarm about the terra-cotta design, saying he wanted to observe New York offices in that style.

And what happens when the murals 10-year warranty expires? inquired board member Debra Gottsleben. Wang said he hoped it would be a matter of pride for any future owner to maintain the scrims.

Renderings showed mechanical equipment atop the two buildings shielded from view by boxy structures Wang called penthouses.

To me, that doesnt look like a penthouse, said Board Planner Greer Patras.

And despite the architects efforts to create texture with cornices, colors and contrasting window patterns, Patras felt the buildings still appeared flat. She also contended the bright white parking deck clashed with the rest of the color scheme.

Morristown requires major developments to underwrite public art on their properties. Questioned by Patras, Wang said the murals are not meant to satisfy that obligation.

Project art will be discussed at a future meeting, said Vitolo, the M Station attorney.

Patras also wanted to know if M Station will include non-binary (gender-neutral) bathrooms (it wont), and whether the coronavirus, with its emphasis on social distancing and low-touch fixtures, has prompted any design changes.

Were still in the throes of the pandemic its definitely an ongoing dialogue we are having, Wang said.

A reporters questions about Deloittes lease status, and the viability of office buildings in a COVID-19 world, were not entertained; public questions were limited to specific testimony.

Large audiences brought plenty of questions to last years council hearings. Nobody watching from home on Thursday posed any queries to the board.

Responding to board questions from last weeks hearing, Vitolo said the developers have agreed to extend water lines to the roundabout for plantings. They also will monitor on-site air quality during construction, for the benefit of the Spring Hills assisted living center, he said.

In one of the Thursdays more interesting exchanges, Wang explained why windows represent 45 percent of the two buildings facades. Sunlight makes for happier, healthier employeeshe claimed hospitals with more sun have better patient outcomes.

Windows also symbolize transparency for companies like Deloitte, he asserted.

We want you to see us, and we want to see you, Wang said.

MORE ABOUT M STATION.

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Here's what architects say M Station will look like in Morristown - Morristown Green

In his upcoming book, California Homes II, architect William Hefner showcases six years of work, ranging from modern and sleek to historic and rustic, all celebrating his holistic approach to design and the spirit of Southern California.

His namesake Studio William Hefner, located in Los Angeles, has increased its range of modern projects and opened an office in Montecito, all while expanding its horizons across the regions cinematic landscape of canyons, palisades and grand Old Hollywood neighborhoods, as Hefner writes in the book, which features architecture, interior design and landscape design by the firm, founded in 1989.

We have 10 projects in it, and I spent almost two years working on every detail, Hefner said of the 400-page opus, set for release this month. Its predecessor, California Homes, also from Images Publishing Group, came out in 2013.

Hefner describes his style, whether the design is contemporary or traditional, as combining luxury and simplicity tailored and restrained but not austere.

Theres nothing monastic about what we do, Hefner said. Theres enough detail and complexity happening visually that it feeds you, in a way.

Im more concerned with things being classic and timeless than trendy, if possible, he added. I really like trying something that weve never really tried before, but dialing it into something that will resonate for people.

Such was the case with one of the ambitious projects featured in the book, the playful yet slick Brise Soleil. The modern Beverly Hills abode features heat-protective metal louvers, whimsical pink-and-mint glass panels and a massive L-shaped pool wrapped around a backyard lounge, creating an 82-foot swimming lane.

When we asked the owner what he was looking for, he said, I just want something really out of the box. I mean, what client tells you that? That was a real dream project, Hefner said.

Another example, Romero Canyon in Montecito, was the realization of a more personal dream for the architect, one shared with his late wife and longtime creative partner, Kazuko Hoshino. She died in April.

A rustic family home hugged by the Santa Catalina Mountains and 200-year-old California live oak trees, it groups neighboring structures into a compound to share with family and friends.

How did you get your start as an architect?

When I was a kid I used to sketch floor plans; it was a no-brainer, it just seemed like what I would always do. I ended up going to graduate school at UCLA and for eight years designed high-rise buildings all over the world for an international company called Skidmore, Owings & Merrill. It was a good education, but it wasnt what I loved, so I started doing homes. Almost 30 years a long time.

Where do you pull inspiration for your work?

Probably travel; remember those days when we could do that? After graduate school I lived in Greece for a year, and as a kid lived in Ireland for a summer. Kazuko and I were married for a while before we had kids and would just take off and go whenever there was sort of a lull in work. Because of her being from Japan, we traveled a lot through Asia Vietnam, Singapore, Bali. And also in Europe.

Tell me about your environmental building and sustainable architecture practices.

Sustainability is important to us, and we were fortunate to get a good lesson in green building and design on a house we did for [actor and passionate environmentalist] Ed Begley Jr. It was really fun because he had very lofty goals everything had to be sustainable and off the grid. Planting and irrigating were OK only if it grew food; we had rainwater catchment, gray water, lots of solar panels and battery backup. It was like a post-graduate degree, in a way, and a tremendous learning experience that Ive tried to apply to other projects over the last couple of years.

You also do historical restoration work.

Ive lived in Hancock Park for the last 25 years, and its been really satisfying taking a house that is almost 100 years old and modernizing the floor plan a bit, without losing the character. I think weve done over 20 restoration projects in the last few years for ourselves and other people my art history background has paid off doing that. Its a really fun part of our practice, and much better in terms of environmental impact.

How did you and Kazuko meet and end up working together as designers?

We met about five years into my own practice. After five years of being married, I dared to ask the what if we worked together question, being a little afraid of the whole thing. I thought that proposal was riskier than the first one. The office was growing, and I couldnt really cover the interiors, the architecture and the landscape all myself, so it was great timing. Then she came in and led that part of the firm.

See more here:
Architect William Hefner's style: luxury and simplicity - Los Angeles Times

Not only is the studio working extensively on a global portfolio of projects, Tatiana Bilbao is also a visiting professor at Yale she has also taught at Harvard, Columbia and Rice and the studio has exhibitions (not currently open to the public) of their work at the Louisiana in Denmark (opened in October 2019) and at the San Francisco Museum of Modern Art (due to open in October 2020). While working abroad may be partly in response to commercial pressures, it is certainly also part of a more complex idea of cultural interchange in architecture today. There can be no doubt that a developed international recognition can help professional status in Mexico, but it must also be true that her deep regional understanding of a different set of issues in her immediate context gives her a voice and well-grounded credibility in that international scene.

Speaking to Tatiana Bilbao, there is a sense of pride in being a Mexican architect, and the professional solidarity that she enjoys with her contemporaries such as Frida Escobedo, Fernando Romero, Michael Rojkind, and a strong connection to the countrys art community her first project was for the artist Gabriel Orozco. It is a very knitted together community, she says, because the formal institutions dont help. I have the impression that this self-constructed community is reinforced by a sense of belonging to an extraordinary lineage of Mexican architects, confirming the cultural role and status of architects in Mexico, as well as maintaining strong discourse on the purpose and the role of architecture in changing their country. Few countries can boast such an important modernist heritage with Luis Barragn, Flix Candela, Pedro Ramrez Vzquez, Ricardo Legorreta, Francisco J. Serrano, Jos Villagrn Garca, Juan OGorman, Mario Pani, Enrique del Moral, Agustn Hernndez Navarro, Teodoro Gonzlez de Len, Abraham Zabludovsky, to name just a few. Boosted by the patronage of the government in the 1940s and 1950s as they sought to build an image of modernity, these architects developed a local modernism rooted in the movements universal social ambitions and in response to the realities of their surrounding context. The lineage has continued through to contemporary masters such as Alberto Kalach and Enrique Norten and is alive today in this new, younger generation despite the different political terrain in which they operate.

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Tatiana Bilbao: Addressing poverty is the context of Mexican architects - Domus

IIDA has announced JKMM Architects as the Best of Competition winner for the 2020 Interior Design Competition for their project Amos Rex. The annual competition celebrates outstanding interior design/interior architecture that encourages new ideas and techniques in the design and furnishing of interior spaces.

Located in Lasipalatsi, Mannerheimintie, Helsinki, the world-class museum features a complex of domed, subterranean galleries that emerge from the ground to form a one-of-a-kind art landscape. "The designers did a fantastic job playing with scale in this project and melding current design with history," commented Michael Davis, founder and principal, Michael Davis Architects + Interiors, on behalf of the jury. "They have created an iconic and sculptural adaptive re-use project that celebrates the experience of art in a warm, eclectic space bathed in natural light."

The firm was chosen from 12 finalists and six category winners and was announced as the Best of Competition winner during a virtual celebration on June 2. "We appreciate the design team's fresh and lively use of geometry to create an iconic and original experience to view art," stated IIDA Executive Vice President and CEO Cheryl S. Durst, Hon, FIIDA. "The underground gallery is a playground for both art-lovers and inquisitive minds alike."

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IIDA Announces JKMM Architects as 47th Annual Interior Design Awards Best of Competition Winner - Dexigner

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Parking House + Konditaget Lders. Image courtesy of JAJA Architects

In collaboration with the Danish Design Center (DDC) and trade organization of Design Denmark, the annual awards aims to provide a look into "the best design solutions" within the country. This year, across 15 categories, winners were selected for their design's impact within "industry, society, and everyday life."

For the Livable Cities category, the design award went to Copenhagen-based architecture firm JAJA Architects and their project Parking House + Konditaget Lders.

The practice used their expertise in architecture and urban planning to help transform the roof of a parking structure in the neighborhood of Nordhavn by transforming it into a new sports and play facility. According to a statement from the team, "instead of concealing the parking structure, we proposed a concept that enhances the beauty of the structural grid while breaking up the scale of the massive facade."

Parking House + Konditaget Lders. Konditaget Luders is owned by By & Havn and made in collaboration with Totalentreprenr 5e byg, Sren Jensen Engineers, LOA, DGI, and Rama Studio. Image courtesy of JAJA Architects

Parking House + Konditaget Lders. Image courtesy of JAJA Architects

Jury's Comments: "This is the first time we have seen a parking house come alive. The living roof has been incorporated into the building in a very intelligent way, allowing people to run and play, while giving them access to a view,you would normally have to pay for. There are parking houses all over the world, and with this example Denmark can position itself as a leader in this field. Other major cities will want to copy this solution and/or hire Danish companies to design it. We haveseen the use of rooftops for leisure before e.g. for private tennis courts and pools but with its public access, this solution has a democratic appeal."

Parking House + Konditaget Lders. Image courtesy of JAJA Architects

Parking House + Konditaget Lders. Image courtesy of JAJA Architects

ChristianBason, CEO, Danish Design Center shares in a statement: "Corona has changed a lot - also the format for this year's Danish Design Award.But one thing is certain: Design has never been more important.We know we need the creative solutions when we need to restart Denmark and the world - which is why it has been a very special privilege this year to help celebrate the difference that design can make.

Parking House + Konditaget Lders. Image courtesy of JAJA Architects

Learn more about the listed winners below and their works here:

Melbourne Affordable Housing Challenge

Register by Tue, Jun 16, 2020

Submit by Tue, Dec 8, 2020

Looking for an internship? BIG, CHIPPERFIELD, LIBESKIND: discover internships and lectures of "Architecture for Exhibition" - 2020 edition

Register/Submit by Fri, Jul 17, 2020

Prisons Redesigned!

Register by Thu, Jun 18, 2020

Submit by Thu, Dec 10, 2020

Outer Space 2020

Register by Thu, Jul 23, 2020

Submit by Thu, Aug 6, 2020

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JAJA Architects is one of 15 winners for this year's Danish Design Awards - Archinect

In The 1990s, We All Became Free: In Conversation with Jiakun Liu of Jiakun Architects

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Jiakun Liu was born in 1956 in Chengdu, China. Architecture was not his first choice to pursue at school, as he originally wanted to be an artist. He heard that architecture had something to do with drawing, so he applied to Chongqing Institute of Architecture and Engineering, not fully understanding what his role as an architect would be. After his graduation in 1982, Liu worked at the Chengdu Architectural Design Academy for two years, the experience he did not enjoy. So, he set out on a self-searching journey that lasted for over a decade, spending time in Tibet and Xinjiang in West China where he practiced meditation, painting, and writing, producing several works of fiction, while officially working at the Literature Academy as a writer.

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In 1993, Liu was invited to attend an architectural exhibition by his former classmate. Encountering those projects suddenly rekindled his interest in architecture and he decided to give his dormant passion another chance. He finally started his practice, Jiakun Architects in 1999, in his hometown. Since then his work attracted universal acclaim that brought prestigious awards, including the 2003 Chinese Architecture and Art Prize. The architects work was exhibited both at Art and Architecture Venice Biennales and his solo exhibition at AEDES Gallery in Berlin was held in 2017. In 2018, Liu presented his inaugural Serpentine Pavilion Beijing. His architecture is rooted in social and vernacular traditions, oriental aesthetics, close observation of everyday life, refinement of folk skills and wisdom, and is characterized as being fully integrated with nature. The following conversation, a full version of which will be published in the upcoming book China Dialogues, was recorded as I spoke with Jiakun Liu over WeChat video call. Singapore-based graduate student Weili Zhang helped us with live translation.

Vladimir Belogolovsky: Your architecture is about making, building, and revealing the everyday, and what is authentic about living in China. What else is your work about? What is your main goal as an architect?

Jiakun Liu: There are many issues that I am very concerned about, particularly with the juxtaposition of the utopian and the everyday, modernity and traditions, collective memories and personal memory, as well as sustainability. In every one of my projects, I try to focus on all of these issues. Although each project will face comprehensive problems, the focus of each project will be different. Again, going back to one of my first projects, the Luyeyuan Stone Sculpture Art Museum, my key focus was on lyricism, on the poetry of space itself. But if you look at my West Village project here in Chengdu, you will find that the focus is much more on the social engagement of people. And not only those living there, but even those who live all around it. In fact, many of my projects pay particular attention to how they fit into their surroundings. If Luyeyuan Stone Sculpture Art Museum is the poetry, then West Village is sociology.

VB: Could you talk about your design process? In one of your lectures, you said that in most cases you work with unskilled laborers and before initiating your design you meet with them to discuss what they are capable of. I heard that you do that even before starting your design. You said in one of your lectures, Once I understand what the workers can do, then I can design my building. Is that right?

JL: This is true, but not in the very beginning. In the beginning, I will still have a basic conception of the overall design. Of course, I want to know what builders are capable of, so I dont design something they cant build. But in the very beginning, I spend time to discover various issues. First, I need to investigate the site and fully understand the context. During this stage, I would decide on what the problems are and how to tackle them.

VB: Ever since the 2008 Sichuan earthquake you initiated the use of brick or cement block reconstructed from the rubble of the demolished buildings to facilitate rebirth of culture and place. Due to the use of this technique you are referred to as the architect of memory. Could you talk about this technique and do you rely on it in your other projects since then?

JL: The origin of that rebirth brick idea was, of course, the fact that the earthquake left so much destruction and rubble. The immediate problem was all about rebuilding. So, it was important to come up with a creative and fast way to rebuild. And this technique proved to be very sustainable. I am very proud of being able to create a so-called building block for producing my own kind of architecture. And I kept using it for a while in a number of subsequent projects, even years after the earthquake. To this day I sometimes use this technique, but the source, the rubble from the earthquake has become very limited over the years and there is not much left of it.

VB: So, your idea of the rebirth brick did not merge into your iconic and unique way of building? Isnt there enough rubble from widespread demolition in China to keep this idea going?

JL: First, I dont consider this technique as my unique architectural gesture because I dont want to be tied to a single architectural element and be recognized for just one kind of attitude. The idea is to use this technique strategically where it is appropriate. The other reason is very mundane, which is the cost of such a process. Initially, right after the earthquake, there was a lot of readily available rubble and, therefore, the cost was very low. Whereas, now, if I want to continue using the same technique, I have to spend a lot of money and effort to find the rubble from a particular demolition. So now it has become more challenging and from the standpoint of sustainability, it no longer makes as much sense as before.

VB: What do you think about the notion of authorship in architecture? Are you at all concerned with how to leave a particular trace, your own mark, as an author? For example, would you say that your reliance on using the rebirth brick, even if strategic and not universal, is what makes your architecture distinctive, unique, and identifiable with you personally?

JL: I do care about authorship and personal character, and unique identity, but I dont think it needs to be conscious or contrived. It should come subconsciously and spontaneously, not deliberately. Of course, there are architects who are known for inventing their own formally recognizable language. But I dont belong to that camp. What I want to follow is not a fixed symbol or style, but a consolidated methodology and common spiritual temperament. Having a style is like a double-edged sword, it is beneficial for being recognized, but it puts a lot of limitations on what is possible.

VB: What single-term words would you use to describe your work most accurately or the kind of architecture you strive to achieve?

JL: I am not good at making conclusions with single words. Quite the opposite, as I like things to be inconclusive. Let me refer to Martin Heideggers poem Poetically Man Dwells. I like to think that poetry lies at the core of my work.

VB: What is a good building for you?

JL: I often question this myself What is a good building? What can we expect from good architecture? Well, it is like defining oneself, which is a very difficult task. I like different buildings for different reasons. But what I particularly like about any building is when I stand in front of it and experience an emotional sensation. At the same time, I like certain unsettledness. Speaking of my own buildings, I like it when I feel that I might have done something wrong. In other words, I like buildings that welcome alternative readings. I dont like architecture that pretends to be perfect. For example, my West Village is a maxi-courtyard that occupies an entire city block to maximize the inner area with sports activities and park, welcoming a diverse public life. Its key feature is that the entire courtyard was built along the streets, and the elevated walkways along the perimeter, floating above the rooftops. This constant change of altitude is unique, and it activates a dynamic flow of energy within the entire neighborhood. I see this project as a typological innovation, a new way of living together, a new social structure, even an attempt to build a new kind of urban utopia.

VB: In other words, what you are saying is that architecture has reached a certain level of relevance and creativity about a decade ago and since then it has not evolved much besides adjusting itself here and there, and it has turned into a formulaic style with all its rigidity and expectations, right?

JL: You can say that.

VB: Here is my perception so many independent architects in China are focused on the issue of regional identity. This offers a great alternative to so-called global architecture, but dont you think this predominant focus on history, traditions, materiality, and regionalism limits architects possibilities? There seems to be no such liberating and necessary premise that architecture could really be anything.

JL: I agree that there needs to be a balance. Nowadays we pay a great deal of attention to our history. However, we need to derive our ideas and inspirations from both our local culture and from whatever is learned and developed around the world. In fact, I disagree with the view that globalization needs to be resisted. That would lead to a closure of ideas and attitudes. Ideas should be shared and multiplied. We should take what is quintessential about different cultures to enrich our own. Architecture should benefit from creative ideas no matter where they come from.

VB: Together with such architects as Yung Ho Chang, Wang Shu, Li Xiaodong, and Zhu Pei you belong to the first generation of independent architects in China. I wonder how you see them as moving in one direction and sharing a particular common ground or do you perceive your work differently, and if so, in what way?

JL: Compare to some of the architects you mentioned I see myself as a latecomer. I went away for more than a decade and rekindled my interest in architecture when these architects were already practicing for quite some time. I think what we all have in common is a certain hunger for learning and opening up to many ideas that were out of reach before. And most of these architects were exposed to living and studying abroad for many years before coming back, so their work was infused by what they have learned overseas. And there was a kind of urgency to innovate and build after a long period of official government-approved style. Then in the 1990s, we all became free. I relate more to Wang Shu because his focus is on analyzing and reproaching our own culture and utilizing traditions in new and innovative ways. One fundamental difference between my work and Wang Shus is that I would never directly recycle ancient materials as entities. I respect tradition. I hope my work carries the spirit of Chinese traditions, but I dont want to bring ready-made traditional techniques and materials into my architecture, preferring to use contemporary techniques and materials. There is no ambiguity about what is contemporary and what is not.

VB: I read that in one of your interviews you pointed out that Many contemporary buildings dont have shadows. What did you mean by that?

JL: Let me correct that. I must have talked about the necessity for buildings to have what can be described as an atmosphere. Let me refer to the notion of shadows in In Praise of Shadows written by Japanese novelist Junichiro Tanizaki, not typical shadows we find in nature. A shadow is a physical phenomenon, but I referred to qualities that may not be quite visible. Yet, they are very important, nevertheless. For buildings to project a particular atmosphere or aura is very difficult to achieve. It is important for buildings to contain stories, even secrets.

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In The 1990s, We All Became Free: In Conversation with Jiakun Liu of Jiakun Architects - ArchDaily