Record’s Matt Hickman takes a look at NADAAA and HDR’s collaboration in mass timber at the University of Nebraska-Lincoln College of Architecture as part of their current special issue. Check out the full digital version HERE.
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Nader reviews Carla Ferrer, Thomas Hildebrand, and Celina Marinez-Cañavate’s new book for Architectural Record. The book explores forest management and the “illusion of infinite bounty”, the “present architectural arms race to build enlightened wood structures”, and the future of timber.
“Composed of three segments, its various writers bring perspectives ranging in disciplines to allow for a broader cultural reading than any conventional book on wood technologies. Acknowledging the already present and looming crisis of climate change as a central protagonist, the book also positions the balance of merits and liabilities in developing an attitude toward the production of wood, allowing the readers to better understand how a sustainable production of wood is a plan that cannot occur as a single decision but as something that requires ongoing efforts over years, administrations, nations, and cultures.”
Read on HERE.
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“Arts and cultural institutions are living sites of memory. They create narratives of the past informed by the present. The architect’s ability to mediate between the two is crucial.” -AN’s Malika Leiper writes on the Metropolitan Museum of Art’s current architectural and curatorial undertakings.
Read on HERE.
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“The transformational design walks a delicate line, as Tehrani admits, between framing the pieces—metallurgy, textiles, sarcophagi, statuary—in their correct capacity and giving the context its material specificity, without trying to upstage the work. […] But the project is part of a bigger discussion that rescripts the narrative of ancient cultures. By attempting to evoke these various realities through character, affect, color, materiality, and immersive space, NADAAA’s intervention enters into the complex discussion of what role a museum plays in today’s world.” – Patrick McGraw
Read on HERE.
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The character of this project derives much more directly from its social and cultural context than most of our other projects. The nod to the vernacular serves as a foil for anamorphic moments where the traditional is cast in a new light.
Architizer’s editors ask Nader about the biggest challenges of the Adams Library project, lessons learned, and his favorite project details. Read on HERE.
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Curbed’s Diana Budds asks Nader about his first job in New York, his favorite places in the city, what he would change about the field of architecture, and what to do in a creative rut. Check out Nader’s 21 Questions HERE.
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Today, Cooper Hewitt, Smithsonian Design Museum announced the 23rd class of National Design Award winners, honored for design innovation and impact. The 2022 Design Visionary award has been given to Nader Tehrani for his “profound contribution to advancing the field”.
“This year’s National Design Award winners reflect the central role that design can play in addressing some of the most urgent needs of our time. Attuned to increasing social and planetary challenges, all awardees, regardless of their category, have a regenerative approach to design work that takes into account our shared future. I’m grateful to our thoughtful jury this year for their selection. Their deliberations revealed that behind each winner is a philosophy of work that expertly weaves together technological innovation while elevating traditional craft, or that prioritizes preservation and reparation processes, ultimately designing for citizens, and not consumers—a reason for hope in today’s complex world if there ever was one.”
– Maria Nicanor, director of Cooper Hewitt, Smithsonian Design Museum
More information on the National Design Awards and this year’s awardees can be found on Cooper Hewitt’s website HERE and in Smithsonian Magazine HERE.
Press coverage: ARCHITECT | Surface | Architect’s Newspaper | Archinect
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Toby Reed of Nervegna Reed Architecture interviews Nader about John Wardle and their collaborations in this issue of 2A
“First and foremost, I would say that he does not impose order and form onto a project, he allows spaces to emerge from circumstances. Those circumstances are sometimes the issues that emerged from a site, a topography, a view, a geography. Other times, they’re internalities that come from a construction system. When you work in wood, it produces a different grain than if you work in brick or in steel. None of it is lacking in authorship per se. But the authorship is always mediated through something that becomes quite legible and authorial on its own terms. So, I would say that’s a strong characteristic of John’s work, and you can trace it through his houses as much as you can trace it through public projects. Embedded in all of those projects is a trope that is very common to ourselves also, that, construction is never smooth. It’s always composed of panelized limits, whether it’s in stone or precast, you see the seam between two things, and he takes advantage of those tectonic limits to demonstrate not only how a system works, but how it’s malleable enough to transform geometrically, spatially, environmentally, and he radicalizes how those things can happen. We not only learn those things from John, but we also shared in those sensibilities before we met him.” – Nader Tehrani on John Wardle
Order your issue HERE.
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Miguel Guitart’s new book Approaching Architecture: Three Fields, One Discipline has been released for pre-order and includes a foreword by Nader Tehrani and contributions from 18 globally diverse teams of architects.
Purchase Approaching Architecture HERE.
More on Guitart’s work HERE.
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Mathias Agbo Jr. recently interviewed Nader Tehrani and Moody Nolan’s Darius Somers on our collaboration for the new ANEC Galleries for The Metropolitan Museum of Art.
“For us at NADAAA, this is a new type of project entirely, and thus, it offers opportunities many other projects cannot… This has been an opportunity to put aside our authorship and look at the collection itself as the basis of inspiration: to build the project from the artifacts, and their relationship to their audiences.”
Read on HERE.
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