https://roryhyde.co Rory Hyde Mon, 20 Jul 2020 11:40:55 +0000 https://roryhyde.co en http://roryhyde.co/Press Mon, 20 Jul 2020 11:40:55 +0000 Rory Hyde 374769 Rory Hyde Press Profiles and interviews &nbsp;Rory Hyde joins Melbourne School of Design – Architecture Australia&nbsp;  Architects After Architecture, review – City of Sound &nbsp;The Care and Repair of Our Suburbs – Slowdown Papers &nbsp;Meet the new wave of Australians taking London by storm – The Age  Greener by design, 10 ideas for a sustainable home – CNN  On Design – Monocle <img width="771" height="669" width_o="771" height_o="669" src_o="https://cortex.persona.co/t/original/i/b9802ed366098403d0947f66fd953d14d81a80b268bf2f42e46240ef73af35b1/Screen-Shot-2020-07-20-at-10.18.11-pm.png" data-mid="958656" border="0" /> The Future Starts Here, An engaging vision – Observer The Future Starts Here, Review – The Times  Are these the 100 objects that will shape the future? – CNN <img width="770" height="472" width_o="770" height_o="472" src_o="https://cortex.persona.co/t/original/i/eda2fa988825ee7ddc0fb1ddee0d7c9ac0ac6561026615b0d0753a4990a1c1d6/g_1_probability_drive_va.jpg" data-mid="958658" border="0" /> Muscle suits, Bitcoin miners and artificial leaves descend on the V&amp;A – Wallpaper Discover the mysterious possibilities of technology – Financial Times  Welcome to the (possible) future: V&amp;A shows tech's hottest ideas – Guardian  The unbearable awkwardness of automation – The Atlantic  Interview with Rory Hyde – Scratching the Surface podcast <img width="576" height="441" width_o="576" height_o="441" src_o="https://cortex.persona.co/t/original/i/2df09bad9fe72e38c4d2b7bd30865fb35f063e868f43b01e15e23b4adfa839e3/Screen-Shot-2020-07-20-at-10.19.10-pm.png" data-mid="958659" border="0" /> The Adjacent Possible: Rory Hyde – Assemble Papers  Interview with Yale Paprika Journal  Silicon Valley is the subject of the V&amp;A’s major new exhibition – Wired  How can we make Melbourne more liveable? – ABC Radio Melbourne  Australians named among Mayor of London’s Design Advocates – Architecture Australia  Why ‘most liveable’ Melbourne can do much better – Sydney Morning Herald <img width="616" height="393" width_o="616" height_o="393" src_o="https://cortex.persona.co/t/original/i/9b0f16e31c513ba3d18a64f9c06a0be1c9c046630b95e85858f5b4bec3b02866/Screen-Shot-2020-07-20-at-10.22.09-pm.png" data-mid="958661" border="0" /> V&amp;A Museum Returns to Its Civic-Minded Roots – New York Times  All of This Belongs to You – Financial Times  Rory Hyde unveils pleasure dome – Sydney Morning Herald  Future Practice Now – Inflection Journal  The Conversation: Rory Hyde – ABC Radio National  Is the Architectural Profession Still Relevant? – Failed Architecture  Future Practice – Architecture Australia  Disruptive Edges of New Architecture and Design Practice – City Of Sound <img width="1172" height="839" width_o="1172" height_o="839" src_o="https://cortex.persona.co/t/original/i/d9cb4af793f0a45e9d9f60a97b95fe16236748b75fc0d9c9d3de7a4d0c60f4c9/Screen-Shot-2020-07-20-at-10.19.36-pm.png" data-mid="958662" border="0" /> There are Other Worlds – Domus  Future Strategies of Spatial Practice – BLDGBLOG  V&amp;A curator Rory Hyde on politics and architecture – On Office Civic Urbanism at London’s V&amp;A, ArchDaily Films and lectures <img width="911" height="510" width_o="911" height_o="510" src_o="https://cortex.persona.co/t/original/i/248a62d4f5a009cc30532bb9e726e6dac1741f9d9fd46c8f0bb46490997b229f/Screen-Shot-2020-07-20-at-10.06.32-pm.png" data-mid="958649" border="0" /> Architecture at the V&amp;A, British Airways, 2019  Critical Practice: Affording Risk, Architectural Association, 2019 <img width="942" height="519" width_o="942" height_o="519" src_o="https://cortex.persona.co/t/original/i/cefa8f80225b7a634a8b460818a0eef0c566a9f6e89e249bba2831608d5f3c49/Screen-Shot-2020-07-20-at-10.08.26-pm.png" data-mid="958653" border="0" /> Design Nonfiction, Tellart, 2018  The Future Starts Here, UN Studio podcast, 2018  All of This Belongs to You, University of Melbourne, 2016  Design and Public Life, Exhibition Models, Columbia GSAPP, 2016 <img width="909" height="510" width_o="909" height_o="510" src_o="https://cortex.persona.co/t/original/i/9c45d5f5e6eb3ea49651c8c428f0f5da6cf9538ff972f4d724e5d81e4cd12e4f/Screen-Shot-2020-07-20-at-10.10.47-pm.png" data-mid="958655" border="0" />  Bomb Cloud Atlas, A World of Fragile Parts, Venice Architecture Biennale, 2016 Predicting the future of urban design, The Economist, 2015  Q&amp;A with Finn Williams and Shelley McNamara of Grafton, V&amp;A, 2015 <img width="953" height="536" width_o="953" height_o="536" src_o="https://cortex.persona.co/t/original/i/fe483a9ed55c7a696bda2092ad07a28a00002a3e01eff3c5ce0f29cddce8e159/Screen-Shot-2020-07-20-at-10.13.21-pm.png" data-mid="958654" border="0" /> Not Really Architecture, Fabrica, 2013 Future Practice, Bond University, 2013 Unsolicited Proposals for the Future of Rotterdam, with DUS Architects, 2010 Rory Hyde Press Profiles and interviews &nbsp;Rory Hyde joins Melbourne School of Design – Architecture Australia&nbsp;  Architects After Architecture,... http://roryhyde.co/A-Home-for-All Fri, 08 Mar 2019 04:48:20 +0000 Rory Hyde 314847 &nbsp; Rory Hyde  A Home for All: Six Experiments in Social Housing V&amp;A, London, 2018 Co-curated with Shumi Bose, Ella Kilgallon, and Justine Sambrook <img width="2000" height="1500" width_o="2000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/906bbe594cc7e2f33ea68cdaae0580d74879a4474bc50b7760ed80f4872e8378/IMG_4118-copy_2000.JPG" data-mid="661348" border="0" /> About The challenge of providing ‘a home for all’ is one that has faced governments and architects for over a century. This display presents six pioneering projects, each demonstrating a different experiment in social housing design, from a tower block that up-ended the terraced street, to a DIY kit that encouraged residents to design their own homes. All of these schemes were commissioned by local authorities, showing the crucial role of the state in providing housing. As the UK faces an unprecedented crisis of housing availability and affordability, what can we learn from these historic projects? On display are original architectural drawings, photographs, and models, alongside quotes from residents, architects and stakeholders selected from the archives. It also includes archival and contemporary protest material showing the political and social backdrop to social housing. Together, these projects show that the idea of ‘a home for all’ should not be dismissed as a utopian dream, but is an urgent and achievable future. Projects featured: Spa Green, London, by Berthold Lubetkin of Tecton for the Metropolitan Borough of Finsbury. Designed 1938, built 1946-49 Keeling House, London, by Denys Lasdun of Fry, Drew, Drake and Lasdun for Bethnal Green Metropolitan Borough Council. Designed 1955, built 1957-59 Alexandra Road Estate, London, by Neave Brown of the Camden Council Architects’ Department. Designed 1972, built 1978 Byker Estate, Newcastle, by Ralph Erskine for Newcastle City Council. Designed 1968, built 1969-82 Primary Support Structure and Housing Assembly Kits (PSSHAK), London, by Nabeel Hamdi and Nicholas Wilkinson of the Greater London Council Architects’ Department. Designed and built 1971 – 1979 Lion Green Road by Mary Duggan Architects for Brick By Brick (Croydon Council). Designed 2017, construction ongoing Presented by the V&amp;A+RIBA Architecture Partnership. &nbsp; Rory Hyde  A Home for All: Six Experiments in Social Housing V&amp;A, London, 2018 Co-curated with Shumi Bose, Ella Kilgallon, and Justine Sambrook ... http://roryhyde.co/Exhibiting-the-Beyond Sat, 16 Jun 2018 06:15:30 +0000 Rory Hyde 275922 header &nbsp; Exhibiting the Beyond Rory Hyde, 2016 Contribution to Exposed Architecture: Exhibitions, Interludes, Essays, edited by LIGA and published by Park Books It’s often said that architecture doesn’t fit in the gallery, usually as a means to justify exhibiting its representations: drawings, models and sketches of buildings created by architects. Contained within this platitude are various assumptions: that architecture is building, that buildings are created by architects, and that buildings are bigger than galleries. In order to make architecture fit in the gallery, we need to question what architecture is. Yes, architecture is building - the spatial and material - but it also takes in the less tangible themes of politics, networks, publicness, economics, the environment and so on. These are themes which take place over time, across vast geographies, and are as much social systems as they are designed. Not only do they not fit in the gallery, they are impossible to contain in any way. And yet to exhibit architecture today, we somehow need to engage with it in this expanded form. Why? Well, that depends on what you see as the role of the gallery. The gallery is a place for looking, for presenting things in public in order to make sense of them. The kinds of things we decide to show determines what we want to make sense of. An exhibition of drawings and models is great for making sense of the intentions of the architect. But again, that’s a fairly limited version of what architecture is. And perhaps more importantly, it’s a fairly limited version of what a gallery is for. It can either be for showing nice things, or it can be for assembling the material to help us make sense of the world. In architectural terms, the gallery can be a place that orders things which can inform our decisions as citizens and practitioners. And today, in our world that’s radically connected and seemingly in a state of destructive flux, those decisions are ones pertaining to the wider world of spatial systems, politics and the environment. Perhaps that grandiose obligation is more pronounced in large public galleries like the one I work in, but I would argue that galleries of all sizes ought to engage with these larger themes if they wish to remain relevant. LIGA is only 70m2 [?], so back to our initial question, how are we going to fit it all in? One strategy is to try to enact these themes in the gallery, to present a tiny fragment through which to view the whole. It’s hard to describe in the abstract, but projects of this type are often event-based, participatory and collaborative. They are both art works, in that they are things which have form, which you can stand back and admire, but they are also doing work, by either enabling public participation, or by connecting in some real way to these global themes. They are tools for re-conceiving our place in the world, and how design can be used to reveal it. It might feel like we’re a long way from architecture by now, that the beautiful exhibition of beautiful drawings is no longer necessary. I think that’s right. Both the way we conceive of architecture and the way we present it needs to reflect the world we live in. Our lives no longer play out in beautiful discrete moments, the equivalent of a beautiful discrete villa or monument, but are shaped by the constant disruptive flux of media, of politics, of climate change and of ever-shifting contexts and experiences. Both designers and curators are coming to develop strategies for operating in this space, and making sense of it. This is an integrative, synthetic practice, one that grabs hold of vectors as they whiz past, and ties them up with others. The gallery, the public site of this activity, becomes the node where these vectors intersect, where ideas are crashed together, and the pristine bubble that is the arbitrary limits of architecture is finally burst. header &nbsp; Exhibiting the Beyond Rory Hyde, 2016 Contribution to Exposed Architecture: Exhibitions, Interludes, Essays, edited by LIGA and published by Park... http://roryhyde.co/TFSH-catalogue Sun, 01 Apr 2018 08:03:25 +0000 Rory Hyde 262423 &nbsp; Rory Hyde&nbsp; The Future Starts HereExhibition catalogue,&nbsp;V&amp;A Publishing, 2018 <img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/5adbf4d8dd60aa41fe12ddc44f2ff70b013965c4c1b1f2f601aa86216f2d50fc/TFSHCatalogue_0000_Layer-2-copy.jpg" data-mid="461933" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/75f2625e43a62b5222381bb1f1f2b6b202f709db8408fa786be3924cb57764e6/TFSHCatalogue_0002_Layer-3.jpg" data-mid="461932" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/d5543228a707c81d710cf59ff77e9442f9d2ed14bce85a6d9d577cbbbec845f4/TFSHCatalogue_0005_Layer-19.jpg" data-mid="461943" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/7dace21078d0b1106fb47a00938b77a88b40399b72d4970e961f57800e1849dd/TFSHCatalogue_0006_Layer-5.jpg" data-mid="461935" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/acec561f4f15dbbcb9ec1076111c294576ee5612059a490c19990ff5319c6d26/TFSHCatalogue_0007_Layer-1.jpg" data-mid="461947" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/7bc912857195c1ba9685a2ca1c394957aa78eb90025c5ea1d193722c906d5e21/TFSHCatalogue_0009_Layer-21.jpg" data-mid="461940" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/aec249c7075bec28d91ac5a68610938ca423186922b0f65b62a6a52bb3de3e25/TFSHCatalogue_0010_Layer-7.jpg" data-mid="461937" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/8dfb4dada02d3348edb11b0befa25ab8170e53a345adc935aeaab4f195b7d5e8/TFSHCatalogue_0011_Layer-9.jpg" data-mid="461946" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/13dcff84475a87922e1fc3f0c0ec8c19450766bcd39df77734a09fb0d8b44257/TFSHCatalogue_0012_Layer-8.jpg" data-mid="461938" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/3438689d1786afcfca39c6bda15c44db7f23adaa908db5c3f6010b0ea7b92e52/TFSHCatalogue_0013_Layer-10.jpg" data-mid="461944" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/8e464cbad7abf5097a087e9a00b3bb9b6d97a8c110e8b8d25453ddffe7cf2c6b/TFSHCatalogue_0014_Layer-16.jpg" data-mid="461936" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/c227d1ddef98255098e4350f0aacebc93a0fa23990e3c5718d69eb3e69f8cf88/TFSHCatalogue_0015_Layer-20.jpg" data-mid="461942" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/a060a3a63f6a596def9367ca15dea4d7c471f146f5ba8bcb4a649837ffa0513c/TFSHCatalogue_0016_Layer-15.jpg" data-mid="461950" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/5ef889c28b249ce87322e92a951f6509dccf78d4bbf7ee64745bc03ab1f59e0c/TFSHCatalogue_0017_Layer-14.jpg" data-mid="461953" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/47c972ee15bc29288ff14f52146e087ecbabc5aed7610a9ace199b9a15cf67da/TFSHCatalogue_0018_Layer-13.jpg" data-mid="461949" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/fa0bb9a4ea157054f12c017ef5f23180a247fb2e79b469ef54e61ac4cbb4cd8f/TFSHCatalogue_0019_Layer-22.jpg" data-mid="461952" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/80ab2e7298c46bd6167a5aeaa3d381770375a61590bfbf1cc769c1c5007dc960/TFSHCatalogue_0020_Layer-12.jpg" data-mid="461948" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/b8cb3a67ee72a4d3b4e640aea90184fd45e73bde568bb23729cbc2604cbec677/TFSHCatalogue_0021_Layer-11.jpg" data-mid="461951" border="0" />About What makes us human?We are all connected but do we feel lonely?Does democracy still work?Are cities for everyone?Should the planet be a design project?If Mars is the answer, what is the question?Who wants to live forever? The world of tomorrow is shaped by the emerging design and technology of today. Bringing together a range of objects either newly released or in development, The Future Starts Here imagines where our society might be headed. Cute but intelligent robots, massive unmanned aircraft that deliver internet access, crowdfunded buildings, tools printed in space, mysterious black boxes that understand genetic codes - how can these objects affect the way we live, learn and love? And how are they challenging our understanding of what it means to be an individual, a citizen, a crowd or a species? Contributors Arjun Appadurai, Zara Arshad, Anne Galloway, Corinna Gardner, Alexandra Daisy Ginsberg, Rory Hyde, Jennifer Kabat, Alex Kalman, Natalie D Kane, Kieran Long, Justin McGuirk, An Xiao Mina, Richard Moyes, Mariana Pestana, Anders Sandberg, Susan Schuppli, Leanne Shapton. CreditsEdited by Rory Hyde and Mariana Pestana with Kieran LongAssistant editor Zara ArshadGraphic Design by JuliaV&amp;A Publishing Published alongside The Future Starts Here exhibition at the V&amp;A, 2018.&nbsp; Purchase on Amazon &nbsp; Rory Hyde&nbsp; The Future Starts HereExhibition catalogue,&nbsp;V&amp;A Publishing, 2018 About What makes us human?We are all connected but do we feel... http://roryhyde.co/Al-Manakh-2 Sun, 01 Apr 2018 08:02:43 +0000 Rory Hyde 262422 &nbsp; Rory Hyde  Al Manakh 2: Gulf Continued&nbsp; Rem Koolhaas, Todd Reisz eds.,&nbsp;Archis, 2012 (Role: researcher and contributor) <img width="2000" height="1500" width_o="2000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/9e108607671e848d57138e68184f5c3dbbb10c6ad81fd51ebbe9f9a596b7b8b6/AlManakh_CoverPerspective_edit.jpg" data-mid="389827" border="0" />About&nbsp; Al Manakh 2: Gulf Continued is a publication examining the architecture, urbanism, economy and society of the Gulf region. With 120 contributors, largely drawn from the region itself, Al Manakh 2 is an informed and comprehensive study of the Gulf just as its future is challenged by the financial crisis of 2009. Rory Hyde formed part of the production team at Archis, contributing a year of research, a number of articles and illustrations, particularly focused on the role of foreign consultants. Press ‘Destined to become a valuable anthropological resource in years, decades, and perhaps even centuries to come.’ - Domus ‘The best architectural and planning insight you can find about the recent developments and experiments in the [Gulf region].’ - Goodreads Links OMA project page Rem Koolhaas and Todd Reisz lecture Purchase on Amazon.com &nbsp; Rory Hyde  Al Manakh 2: Gulf Continued&nbsp; Rem Koolhaas, Todd Reisz eds.,&nbsp;Archis, 2012 (Role: researcher and contributor) About&nbsp; Al... http://roryhyde.co/Future-Practice Sun, 01 Apr 2018 08:00:54 +0000 Rory Hyde 262421 Rory Hyde  Future Practice Conversations from the Edge of Architecture Routledge, 2012 <img width="1024" height="768" width_o="1024" height_o="768" src_o="https://cortex.persona.co/t/original/i/4296f73471ece44ba7a055ce122c335a2011203a92c25251c1df71759131b9e2/FuturePractice_HoldingCover.jpg" data-mid="389826" border="0" /> About Designers around the world are eagerly carving out opportunities for new kinds of engagement, new kinds of collaboration, new kinds of design outcomes, and new kinds of practice; overturning the inherited assumptions of the design professions. This book presents seventeen conversations with practitioners from the fields of architecture, policy, activism, design, education, research, history, community engagement and more, each representing an emergent role for designers to occupy. Whether the "civic entrepreneur," the "double agent," or the "strategic designer," this book offers a diverse spectrum of approaches to design, each offering a potential future for architectural practice. Press ‘A breath of fresh air.” - Domus ‘illuminates a whole world outside the traditional’. - AIA awards jury ‘Perfect material to prototype the new edges of architecture.’ - Dan Hill ‘A snapshot of ways in which designers and architects are inserting themselves into the mechanics of city-making through alternate avenues.” - Architecture Australia ‘Hyde is himself an example of the rise of new forms of architecture practice.” - Urban Lab Global Cities ‘A rare insight into what is arguably the more interesting aspect of architecture.” - Goodreads ContributorsPreface by Dan Hill Conversations Bruce Mau, Massive Change Indy Johar, Architecture 00:/Reinier de Graaf &amp; Laura Baird, AMO Mel Dodd, muf_aus Wouter Vanstiphout, CrimsonCamila BustamanteSteve Ashton, ARMMatt Webb, BERGBryan Boyer, Helsinki Design Lab Todd Reisz, on consultantsMarcus Westbury, Renew NewcastleDUS ArchitectsJeanne Gang, Studio GangConrad Hamann, on Robin BoydLiam Young, Unknown FieldsArjen Oosterman &amp; Lilet Breddels, VolumeNatalie Jeremijenko, Environmental Health Clinic CreditsEditor Wendy Fuller Design Sam de Groot Transcription Jude Crilly Cover photo Liam Tickner Purchase Amazon.co.uk, Amazon.com, Routledge, Waterstones, Kindle Rory Hyde  Future Practice Conversations from the Edge of Architecture Routledge, 2012 About Designers around the world are eagerly carving out... http://roryhyde.co/Meet-Your-Energy-Avatar Fri, 09 Mar 2018 19:36:22 +0000 Rory Hyde 257781 &nbsp; Rory Hyde  Meet Your Energy Avatar Mediamatic, Amsterdam, 2012 With Katja Novitskova <img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/292916e11d4e821c7bffc75497f7ad7500deec394b9c0def8f667cbef4244826/whale2.jpg" data-mid="383082" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/0c842615d0835735913e32bd236888ab1d9c140efc3041341ea993455bb51b42/whale4.jpg" data-mid="383083" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/cd0033df7f8e0614ee76bceef6c84e237f1385618721401a574a2b19b58afa7d/whaleee.jpg" data-mid="383081" border="0" /> About ‘We once had a very direct relationship to our energy use, as with most animals today, it was directly related to our metabolic rate. Asleep we require about 90 watts of energy to ‘run’, to subsist in the Amazon as a hunter gatherer requires about 250 watts. With the rise of civilisation and technology, the modern middle class human in the developed world requires around 11,000 watts to live, which, as physicist Geoffrey West “is more watts than a blue whale … the biggest animal that has ever existed.”Today we associate guilt with our energy footprints. In the post-carbon world of New Order we may instead embrace our animal avatars, giving them names and identities of their own. Come and introduce yourself.’ Meet Your Energy Avatar is a full-scale blue whale made of neon wire as part of the exhibition New Order: Energy, Economy, Art.Thanks to Hsien Yu and Carlos for their hard work. Photos by Simone Schoutens. &nbsp; Rory Hyde  Meet Your Energy Avatar Mediamatic, Amsterdam, 2012 With Katja Novitskova About ‘We once had a very direct relationship to our energy... http://roryhyde.co/Neon-Invitation Fri, 09 Mar 2018 19:34:58 +0000 Rory Hyde 257778 Rory Hyde  Neon Invitation V&amp;A, London, 2015 <img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/72182ba533fbb46eab9eeda46abce4fa2222749e2912c83042c2d59689dcff76/Neon_0.jpg" data-mid="383080" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/80f97ee60d32ebd341ba23fe3250796c5978b48893969736f776568a59c49199/2015HM2902.jpg" data-mid="383078" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/dad21ab0d1aff6ae148d016fe0ddb655df5e09104ba8b202238f88650b175e4d/IMG_2794.JPG" data-mid="383077" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/37f0b974d330e92922cc352ff654cb95e8314b0c3e922839013f35d589960da9/IMG_2833.JPG" data-mid="383076" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/eb853a191d1184abc3836850d09a9331e3709510b88b20851103e2b5d9eaf5a0/IMG_2780.JPG" data-mid="383075" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/8c9b64c1bb74b3ad760e6fb940e38c7a6ac83084f4eebec65e3db0426359fa31/IMG_2851.JPG" data-mid="383079" border="0" />About&nbsp; Neon sign conceived and designed as part of the exhibition All of This Belongs to You. The giant sign – 17 meters across, framing an arch in the grand entrance of the V&amp;A – was designed as a reminder of what it means to be a public institution and a public space. The V&amp;A is an extension of the public realm, a space that is warm, dry, free and where all are welcome. But beyond the collections, the exhibitions, and the scholarship, what is a museum really for? Can it be a place of debate, of politics, of collective thought? If all of this belongs to you, what are you going to do with it? Fabricated and installed by Neon Circus. Rory Hyde  Neon Invitation V&amp;A, London, 2015 About&nbsp; Neon sign conceived and designed as part of the exhibition All of This Belongs to You. The... http://roryhyde.co/Rapid-Response-Collecting Fri, 09 Mar 2018 14:43:26 +0000 Rory Hyde 257691 Rory Hyde  Rapid Response Collecting V&amp;A, London, 2013 - ongoing <img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/d17ca0df54878fe6aa512eacfca54f78aaa98da763703d6c1107a528a428d473/RRC_01.JPG" data-mid="382874" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/816bbb45a1e6565025c914a9fa5a318a5ab875c79b174b839928fa397606fc1f/RRC_03_7.JPG" data-mid="382882" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/8a1d800d5ee0e4b637b8ab9d8dbf0f809696fac97a0f2d730fea89f1413c4fb2/RRC_04_2.jpg" data-mid="382883" border="0" /><img width="2403" height="1596" width_o="2403" height_o="1596" src_o="https://cortex.persona.co/t/original/i/e55ae934bf440612b6afed9215ca243a26e19104ce995b924e4b2da6e4bcbe6d/RRC_05_3.jpg" data-mid="382884" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/979d31ec8a02e23cf19eae50ecf21a6a21cebe770f23ef9040058d78ecb619cb/RRC_07_5.JPG" data-mid="382885" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/b5ce1d00b1323c91cf009336aab358746008882205161dead9e8b6987975138f/RRC_10_10.jpg" data-mid="382886" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/84960638960a8f42f099251794ff2a994fdbc8b0d7623102242fc3cb3e5e8e8e/RRC_06_8.JPG" data-mid="382887" border="0" /><img width="2000" height="1323" width_o="2000" height_o="1323" src_o="https://cortex.persona.co/t/original/i/a2c6e4c3eb1b92b91857b8b61748622df6268cb83c7aced90e74b8a58ec3067f/RRC_11_11.jpg" data-mid="382888" border="0" />About&nbsp; Rapid Response Collecting is a new strand to the V&amp;A’s collecting activity. Objects are collected in timely response to major moments in history that touch the world of design and manufacturing. Each acquisition raises different questions about globalisation, popular culture, political and social change, demographics, technology, regulation or the law. This ongoing display, which changes each time a new object is collected, shows how design reflects and defines how we live together today. Conceived by Corinna Gardner and Kieran Long Press A history of now, found in politically charged objects, New York Times The V&amp;A looks outwards, Guardian The V&amp;A gains a pussyhat, The New Yorker Very important objects, The New Yorker The surprise objects finding a home in the V&amp;A, Financial Times Rapid Response Collecting at the V&amp;A, Disegno Rory Hyde  Rapid Response Collecting V&amp;A, London, 2013 - ongoing About&nbsp; Rapid Response Collecting is a new strand to the V&amp;A’s collecting... http://roryhyde.co/Practice-for-the-Fringe Fri, 09 Mar 2018 10:40:00 +0000 Rory Hyde 257657 Rory Hyde Projects  Writing&nbsp; A New Practice for the FringeRory Hyde Architect Victoria, 2017 At a press conference in 2014 celebrating the opening of his soaring glass museum for Louis Vuitton in Paris, Frank Gehry famously raised his middle finger to a journalist and declared 98% of architecture to be “pure shit.” It was a peculiar statistic for Gehry to employ, not least because one shouldn’t throw stones while promoting glass museums. “We are the 99%” was the rallying cry for the Occupy movement across the world, protesting the extreme consolidation of wealth of the richest 1%, epitomised by Gehry’s patron Francois Pinault. But more tellingly, as RIBA statistics show, 94% of new homes built in the UK do not have an architect involved [1], with similar figures for North America and Australia. Presumably then, it is the architect’s absence that is to blame for so much pure shitness. Intended as a defence of the architect-auteurs like himself and his fellow starchitects (they are all fellows), Gehry inadvertently shined a light on how irrelevant architecture has become. Architecture today is overwhelmingly focussed on the bespoke over the reproducible; on the urban over the suburban; on the specific over the generic; the new over the preexisting; on the deep and narrow over the broad and synthetic. In Melbourne, friends with small practices presumably in need of work, turn down projects worth less than $150,000 – an eye-watering amount of money for most people – claiming “it’s not worth the trouble.” We have hitched our wagon to the top income bracket in the metropolitan centres, neglecting the reality of where the vast majority of people really live, or the daily challenges they really face. In short, architecture is in its baroque phase, and it’s imperative we find a way out to reclaim public trust and rebuild the social contract. To overcome this irrelevance, I argue we need a new practice for the fringe. A practice that is able to address the broad challenges of today: climate change, wealth inequality, housing crisis or global migration. A practice that can make things cost less, run on time, and reduce complexity. And above all – with 300 people arriving in Melbourne each day, some 100,000 per year [2] – a practice that can operate at the scale of these challenges, by developing a means to serve more people. This practice for the fringe is already being developed out of necessity by those on the fringe. We can see it in the work of the late Paul Pholeros, whose decades of work with remote indigenous communities measurably improved the lives of tens of thousands of people. Using a basic checklist, Pholeros’ organisation Health Habitat would improve people’s ability “to wash children, wash clothes and bedding, remove waste water safely, improve nutrition, reduce the negative impacts of crowding, reduce the negative impacts of insects and animals, control dust, control temperature and reduce minor trauma.” [3] Central to Health Habitat’s success is their ability to scale. Rather than making a small number of beautiful demonstration projects, they tackled the overwhelming scope of the problem head on, surveying and conducting repairs on more than 7,500 houses across Australia since 1999. By comparison, Herman Hertzberger, one of Holland’s most successful, prolific, and socially-engaged architects, with a long career during a period of great economic expansion and development, completed 400 projects in toto. The RVIA Small Homes Service, established by Robin Boyd in 1947, offers another precedent of a practice model able to operate at scale. Developed as a means to promote good design in the rapidly-expanding suburbs of the post-war boom, Boyd set up a design studio within the State Electricity Commission (SEC) at 238 Flinders Street, where he managed a small team of architects and draftspeople. Each week, they would produce a design for a modern house which would be published in The Age newspaper alongside a column by Boyd, advocating for modern design and the new ways of living it allowed. Plans of these houses could be bought from the service, ready to be built by a local builder on a plot of land in Melbourne’s expanding suburbs, made accessible by the widespread adoption of the private car. In his biography of Boyd, Geoffrey Serle notes that some 5,000 homes were built directly from Small Homes Service plans, an estimated 15% of homes in Victoria at the time. [4] This was a practice literally for the fringe. A practice for the suburban fringe of the city, and for what was - and still is - considered the fringe of architecture. Despite all appearances of an urban renaissance and apartment boom, 83% of Melbourne’s population growth is accommodated on the fringe, in poorly-connected and poorly-resourced auto suburbs or exurbs. [4] Architecture can no longer choose to ignore the reality of the majority of Melbournians, repeating the metropolitan mantra of the Copenhagen-style urban checklist of density, walkability bike lanes and so on. The suburbs we have are here to stay, so instead of decrying them as the places which will drag us all under, shouldn’t we develop new ways to retrofit them to be socially, environmentally and economically sustainable places in their own right? To put it another way, if the RVIA Small Homes Service sought to improve the quality of the new-build suburbs, what would a program look like that could retrofit these same suburbs today? Finally, to return to design research, the subject of this edition of Architect Victoria, this is where the academy can lead. There is much work to be done to develop new practice models able to operate at the fringe, but few incentives for private practice to invest in entering this space. This work will include devising new economic models, like that of the local GP, charging by the hour, writing prescriptions for ten clients per day, instead of ten per year; new design tactics specifically geared to working with face brick, stud wall and cement sheet - the material of the suburbs today; new open source design systems that enable residents to undertake adjustments to their own homes with confidence and ambition, without the need of an architect, as a means to reach scale; new collaborative models that encourage pooling of resources at a neighbourhood level - such as energy, water, waste, and food; new living and working typologies that break down the conservative gender roles that the suburban home implicitly reinforces, and much else. This is a chance for research to come first, and for practice to follow. To define the parameters of a truly public-service practice for the future. Right now, we seem to train every architect to be Frank Gehry, but how many Frank Gehrys do we really need? One is enough. It’s time for an architecture of the 98%. References Figure quoted in the RIBA exhibition ’At Home in Britain’, May 2016. Thank you to Finn Williams for pointing out the similarity between Gehry’s figure and this statistic&nbsp; Royce Millar and Ben Schneiders, ‘4 million, 5 million, 8 million: How big is too big for liveable Melbourne?’, The Age, July 1 2017 Paul Pholeros, ‘Housing for Health’, Architecture Australia,&nbsp;September 2008 (Vol 97 No 5) Geoffrey Serle, Robin Boyd: A Life, 1992, p.92 David Gordon, ‘Is Australia a Suburban Nation?’, Alexandrine Press, June 30 2016,&nbsp; Rory Hyde Projects  Writing&nbsp; A New Practice for the FringeRory Hyde Architect Victoria, 2017 At a press conference in 2014 celebrating the opening of...