Ideas are precious, precious things. A good one can upend a movement or make a career and they are, of course, worth a great deal. Architects live in a competitive globalized world, and in the race to succeed, defining who owns ideas is becoming increasingly important in an architect's professional life. ArchDaily has previously explained the essential points of architectural copyright and explored the complexities of legal judgments, but what if you want to work internationally? It's a much more complex issue than "China will let people copy what they want" or "Belgians will sue you" and if you want to work outside your home country then it's essential you understand the variables.
Fortunately, we've got you covered: we've pulled together a rundown of the essentials of copyright law
Son of pioneering Finnish architect Eliel Saarinen, Eero Saarinen (August 20, 1910 – September 1, 1961) was not only born on the same day, but carried his father's later rational Art Deco into a neofuturistinternationalism, regularly using sweeping curves and abundant glass. Saarinen's simple design motifs allowed him to be incredibly adaptable, turning his talent to furniture design with Charles Eames and producing radically different buildings for different clients. Despite his short career as a result of his young death, Saarinen gained incredible success and plaudits, winning some of the most sought out commissions of the mid-twentieth century.
Born in Finland on his father's birthday, Eero followed in the family tradition, studying design under his father at Cranbrook Academy of Art before moving to study in Paris at the end of the 1920s and then the Yale School of
These days mostly recognized only as the father of Eero, Eliel Saarinen (August 20, 1873 – July 1, 1950) was an accomplished and style-defining architect in his own right. His pioneering form of stripped down, vernacular Art Nouveau coincided with stirring Finnish nationalism and a corresponding appetite for a romantic national style and consciousness; his Helsinki Central Station became part of Finnish identity along with the Finnish language theaters and literature. Later moving to America, his city planning and Art Deco designs resonated through western cities in the first half of the 20th century.
Graduating from the Helsinki University of Technology at the end of the 19th century, the 1900 World's Fair provided Saarinen with his first opportunity to draw attention. His Finnish Pavilion was an extraordinary mix of the many styles of the period, combining Art Nouveau with traditional Finnish wooden architecture
Courtesy of Dmytro Aranchii
Architecture is a swarm, and a self aware one at that. That's the vision presented by noMad: a built environment made of Buckminster Fuller-like geometric structures that compile themselves entirely autonomously, according to data gathered and processed by the units. Developed by Architectural Association students Dmytro Aranchii, Paul Bart, Yuqiu Jiang, and Flavia Santos, on a basic level noMad's concept is fairly simple - a small unit of motors that is attached to several magnetic faces, which can be reoriented into different shapes. Put multiple units together, however, and noMad's vision becomes an entirely new form of architecture: non-finite, mobile and infinitely adaptable.
As noMad's video demonstrates, motorized units are capable of expansion, linear movement and rotational movement. Together, strings of these units are capable of assembling themselves into rudimentary structures, can function as their own cranes and reinforce themselves if needed by rapidly passing units
Kengo Kuma (born 8th August, 1956) is one of the most significant Japanese figures in contemporary architecture. His reinterpretation of traditional Japanese architectural elements for the 21st century has involved serious innovation in uses of natural materials, new ways of thinking about light and lightness and architecture that enhances rather than dominates. His buildings don't attempt to fade into the surroundings through simple gestures, as some current Japanese work does, but instead his architecture attempts to manipulate traditional elements into statement-making architecture that still draws links with the area its built in. These high-tech remixes of traditional elements and influences have proved popular across Japan and beyond, and his recent works have begun expanding out of Japan to China and the West.
Born in Yokohoma and graduating from the University of Tokyo in 1979,