These crabots would, in theory, establish a "'hackable' system for the building of the interior structures," says the documents, that would allow for limitless, easy, and affordable reconfiguration of space throughout the building's life.
The Dubai Design District (d3) has tapped Foster + Partners to design its masterplan's second phase. Spanning one million-square-feet, the new development will be a "Creative Community" that will serve as a "thriving cultural epicenter" within d3, and an "incubator" for emerging designers an artists.
“This is an exciting initiative, which supports young creatives, and allows Dubai’s design scene to flourish from within," says Gerard Evenden, Studio Head at Foster + Partners.
To advance this heated conversation, two weeks ago we reached out to our readers to provide their thoughts on this topic in an attempt to get a broad cross-section of opinions from architects from all walks of life. Read some of the best responses after the break.
A team of architects from the Danish design firm Kullegaard have been awarded first place in a competition for the seaport municipality of Holbæk in Denmark. Seeking to form a connection with the surrounding architecture, their proposal for a mixed-use complex, entitled "Holbæk HavneBy," derives its form from the distinction of public and private spaces.
Read more on the $22 million proposal after the break.
The prolific body of work produced over the last half century by Moshe Safdie and his firm is somewhat anomalous in the pantheon of high-profile living architects. It is unique in both formal and philosophical terms, nostalgically guided by the ethical precepts of bygone modernist theory while working in architectural languages significantly evolved from midcentury standards. In the course of a comprehensive review of his projects, it is perhaps the very lack of an isomorphic personal signature that makes his celebrity so unique. The Safdie “look” is chameleonic, deliberately adapting to culture and context without suffering from the burden of personal branding, unified by theory and a geometric playfulness that transcends architectural language and affect.
In an article for the Washington Post, Philip Kennicott argues that "technology has scrambled the lines between public and private." He questions whether, in an age of "radical individualism" spurred on by our fascination with solitary communication, our collective understanding and appreciation for the public, civic space has been diminished. Kennitott foreshadows that "one thing is certain: We will live in more crowded spaces, and we will increasingly live indoors, cocooned in climate-controlled zones with a few billion of our closest friends" as rapid urbanisation merges with the changing climate.
Janet Echelman's latest aerial sculpture has been suspended 365 feet above Boston's Rose Kennedy Greenway. On view through October 2015, the monumental installation spans 600 feet, occupying a void where an elevated highway once divided the city's downtown from its waterfront.
"The sculpture’s form echoes the history of its location," describes Echelman. "The three voids recall the 'Tri-Mountain' which was razed in the 18th-century to create land from the harbor. The colored banding is a nod to the six traffic lanes that once overwhelmed the neighborhood, before the Big Dig buried them and enabled the space to be reclaimed for urban pedestrian life."
Car Talk has written a scathing review on Buckminster Fuller's three-wheeled Dymaxion Car, 81 years after its unveiling. The famed architect and inventor, known best for his geodesic dome, hoped to revolutionize the car industry with a three-wheeled, 20 foot-long, "highly aerodynamic" reinvention of the car.