Tacita Dean

A month after the opening of this year's Venice Architecture Biennale, we've invited three critics to come on the show to help make sense of what was arguably one of the most content overloaded, and curitorially ambiguous biennales in recent memory.Since its inception in 1980, The Venice architecture biennale has set the tone for global discourse on contemporary design and urbanism, and yet the agenda of this year’s exhibition, curated by the MIT professor and recent guest of this podcast, Carlo Ratti, seemed surprisingly muted and anodyne, calling for architects to marshal the quote intelligence of the natural, artificial and collective”Still there are more complex although perhaps unintended themes to the biennale this year, including the emerging relationship between unaccountable technologies and authoritarianism, quantatitve expansion as a proxy for genuine inclusivity, and perhaps most importantly, the exchange of an independent curatorial vision for an apparent new ideal of algorithmically determined experience. Furter reading:Emily Conklin: We Will Rest: Seeking Resistance and Recovery During Carlo Ratti’s Venice Biennale in the Brooklyn RailFabrizio Gallanti: "Fakery and deception is everywhere at Venice Architecture Biennale 2025" in DezeenPhin Harper: Venice Architecture Biennale 2025 Review: A Tech Bro Fever Dream in Art Review and La Biennale Architettura: A Beginner’s Guide on The Fence.Emily Conklin is the former managing editor of the Architect's Newspaper and is an editor and critic based in New York City. She is trained as a historic preservationist and is the founder of Tiny Cutlery studio. Fabrizio Gallanti is an architect, writer and curator, and directs Arc en Rêve, an architectural center in Bordeaux.Phin Harper is a critic, curator, and sculptor and former Chief Executive of Open City.Correction: the list of Swiss Pavilion curators mentioned in this episode mistakenly omitted Myriam Uzor, who led the project alongside Elena Chiavi, Kathrin Füglister, Amy Perkins amd Axelle Stiefel. Hosted on Acast. See acast.com/privacy for more information.

Patrick McGraw is the editor and publisher of Heavy Traffic magazine. Based in NYC, designed by Richard Turley and featuring contributions as varied as Sheila Heti, Keller Easterling and Dean Kissick, Heavy Traffic understands and reflects the mood of contemporary life in a way that fiction is increasingly well suited to. Literature has the ability to capture our now terminally online consciousness. Architecture, on the other hand—a cultural form that once stood for whole epochs—has in recent decades become anachronistic, divorced from the virtual world that increasingly holds us captive. Patrick’s trajectory is interesting because he originally studied architecture before making a shift into journalism and eventually leading a literary magazine. In our conversation we try to bridge this gap between the world of architecture and fiction. Hosted on Acast. See acast.com/privacy for more information.

To mark the 25th Anniversary of the Tate Modern this week, the Architecture Foundation's Director Ellis Woodman speaks with two key figures behind the museum's conception: Nicholas Serota and Jacques Herzog.Scaffold is an Architecture Foundation production, hosted by Matthew Blunderfield. Download the London Architecture Guide App via the App Store or Google PlayBecome an Architecture Foundation Patreon member and be a part of a growing coalition of architects and built environment professionals supporting our vital and independent work.   Hosted on Acast. See acast.com/privacy for more information.

Carlo Ratti is is an Italian architect, engineer and educator, and the curator of the 19th Venice Architecture Biennale. As the 2025 Venice Architecture Biennale opens its doors, we speak with this year’s curator, Carlo Ratti—architect, engineer, and a leading thinker at the intersection of design, technology, and urbanism. Under the theme 'Intelligens: Natural. Artificial. Collective.', Ratti explores how new forms of intelligence—from machine learning to natural ecosystems—are transforming not just the spaces we build, but the tools and processes we use to conceive them. In this episode, he reflects on the Biennale's curatorial vision, and the questions it raises about architecture’s evolving role in an increasingly interconnected world. Hosted on Acast. See acast.com/privacy for more information.

Michael Meredith is a co-founder with Hilary Sample of MOS, an architecture practice based in New York.MOS is an acronym derived from Meredith and Sample, with the "O" serving as an abstract, connective element. The name, much like the practice itself and the cultural moment it emerged from in the early 2000s, captures a playful tension between irony and sincerity. It's a subtle nod toward global architectural giants like SOM or OMA, while genuinely embodying Michael and Hilary's playful and collaborative spirit.A hallmark of Meredith and Sample’s work is their ability to balance intentional imperfection with technical precision. They've described their practice as embracing a philosophy that's "horizontal and fuzzy," deliberately moving away from the conventional "tall and shiny" image typically associated with architecture firms. It's a metaphor reflecting their preference for an architecture that's smaller, less bureaucratic, more experimental, and ultimately more alive.Michael's podcast Building with Writing Stan Allen: https://open.spotify.com/show/7CUtD3SnpyKxWUmsNnDmSwMichael's 2025 Princeton Syllabus: https://docs.google.com/document/d/1aU1IqdLYJmcldMAzgnxrwOczO1TIrTtCejEziyxZ4-U/edit?tab=t.0Scaffold is an Architecture Foundation production, hosted by Matthew Blunderfield. Download the London Architecture Guide App via the App Store or Google PlayBecome an Architecture Foundation Patreon member and be a part of a growing coalition of architects and built environment professionals supporting our vital and independent work.   Hosted on Acast. See acast.com/privacy for more information.

This episode was originally aired in Novemebr 2022."The direction in which I’m going is never fixed. Because I don’t know where I’m going, I’m very able to change direction. . . only at the very end of the process does all this nascent information suddenly have resonance – only in the singularity of the final work does the impact of this desperate journey make any sense." – Tacita Dean. Tickets are now available for Architecture in the Age of Artificial Intelligence – a landmark panel taking place on 2 June at the Barbican Concert Hall. Support our work by becoming a Patreon Member or Practice Supporter Hosted on Acast. See acast.com/privacy for more information.

Late last year a new museum opened its doors in Lagos, Nigeria, called The John Randle Centre for Yoruba Culture and History. It is among a new generation of African cultural institutions – including the Bet Bi museum in Senegal, by Mariam Kamara, and the Museum of West African Art in Benin City by Adjaye Associates – which in different ways attempts to reimagine both the form and format of the contemporary museum from an African perspective. This week we speak with Seun Oduwole, who lead the design of the John Randle Centre. Oduwole is a Nigerian architect and the Principal Architect at SI.SA, a Lagos-based firm he founded in 2015. He earned his architecture degree from the University of Nottingham and gained experience at Hopkins & Partners, Benoy, and Sheppard Robson. Upon returning to Nigeria, he worked at Shelter Design Partnership and later became a partner at Brown inQ before establishing SI.SA. ​ Hosted on Acast. See acast.com/privacy for more information.

Dima Srouji is a Palestinian architect, artist, and researcher born in 1990 in Nazareth. She holds a Bachelor of Architecture from Kingston University (2012) and a Master of Architecture from the Yale School of Architecture (2016). ​Srouji's interdisciplinary practice explores the ground as a repository of cultural narratives and potential collective healing. She employs various media—including glass, text, archives, maps, plaster casts, and film—to interrogate concepts of cultural heritage and public space, particularly within the Middle East and Palestine. Her collaborative approach involves working closely with archaeologists, anthropologists, sound designers, and glassblowers. ​In 2016, Srouji founded Hollow Forms, a glassblowing initiative in collaboration with the Twam family in Jaba’, Palestine, aiming to revitalize traditional glassblowing techniques. Her work has been exhibited internationally, including at the Victoria & Albert Museum in London, the Corning Museum of Glass in New York, the Sharjah Art Biennial, the Islamic Art Biennial in Jeddah, and the Contemporary Arts Center in Cincinnati. Her pieces are part of permanent collections at institutions such as the Stedelijk Museum Amsterdam and the Victoria & Albert Museum. ​Srouji has contributed to academic discourse through her writings in publications like The Architectural Review and The Avery Review. She currently leads the MA City Design studio at the Royal College of Art in London, focusing on archaeological sites in Palestine as contexts for urban analysis. ​In recognition of her contributions to art and architecture, Srouji was awarded the Jameel Fellowship at the Victoria & Albert Museum for 2022-2023. ​Through her multifaceted work, Srouji challenges conventional narratives, offering new perspectives on cultural heritage and identity within contested spaces.​Support the Architecture Foundation – visit https://www.patreon.com/ArchitectureFoundation to find out how. Hosted on Acast. See acast.com/privacy for more information.

Alison Crawshaw, whose practice encompasses architecture, landscape, urban design, and installations, is on the pod this week.In our conversation we focus on two key projects of hers that bookend her practice to date, and that share a philosophy of working with existing conditions rather than imposing top-down transformations. The first project, from 2012, called the politics of bricollage, which Alison developed during her time as a Rome scholar in architecture, examines the outskirts of that city to highlight small-scale, user-led interventions shape the built environment outside formal planning processes. The second project, called open Havelock, which was just recently completed, transforms undercroft garages in London’s Havelock Estate into a series of community rooms instead of demolishing them, in a bid to repurpose overlooked urban spaces. Both projects acknowledge the role of everyday users as co-creators of urban space, and push for a more adaptive, bottom-up approach to urbanism, suggesting grassroots tactics for future urban development. Support the Architecture Foundation by becoming (or gifting) a Patreon membership. More details here.Scaffold was recently noted as one of the top feedspot architecture podcasts. Hosted on Acast. See acast.com/privacy for more information.

badweather, founded by Oli Brenner, Sophie Mei Birkin and Leo Sixsmith in 2019, are an architecture and scenography collective based in London.badweather’s work represents a strand of contemporary practice that became more visible in the wake of the pandemic, and one distinct from the climate survivalism, social moralism, and poetic despair that has come to dominate much of architectural discourse today.Instead, the few projects that badweather has completed — lightweight and ephemeral constructions made from off the shelf components, primarily for nightclubs and festivals — reflect a generation of architects who, in an era defined by scarcity and polarization, are seeking aesthetic exuberance and new forms of collectivity precisely while contending with the limitations of the present. Support the Architecture Foundation by becoming (or gifting) a Patreon membership. More details here. Hosted on Acast. See acast.com/privacy for more information.