With industrialization came unchecked suburbia and car-centric lifestyles. But now, in the rapidly approaching age of the super city, our current standards of living will not suffice. According to MIT Research Scientist Kent Larson, 21st century cities will account for 90% of global population growth, 80% of all global CO2, and 75% of all global energy use.
Understanding that the global population faces serious issues of overcrowding, affordability and overall quality of life, Larson presents new technologies that intend to make future cities function like the small village of the past. Folding cars and quick-change apartments with robotic walls are just a some of the fascinating innovations he and his colleagues are currently developing.
The Wall Street Journal announced Wang Shu as architecture’s “Innovator of the Year 2012”, commending his “deceptively simple” vision that is “drafting a new architectural blueprint for his country”. The 49-year-old Chinese architect, whose work has been described as China’s “new regional style”, is one of the most influential architects in what is becoming one of the most important countries in the world.
After founding Amateur Architecture Studio with his wife, Lu Wenyu, in 1997, the Pritzker Prize laureate has created a succession of acclaimed projects throughout China, from civic buildings to private homes to exhibition pavilions. Some of his most prominent works include the monumental Ningbo Museum of Art, constructed of locally salvaged materials, and the uniquely crafted Xiangshan Campus for the China Academy of Art. Both projects exhibit Shu’s innovative balance between traditional and contemporary Chinese architecture that remains deeply rooted within it’s context.
On October 9th, the Arizona Planning Commission met to discuss the proposed landmark designation for the house, an event which attracted over 100 people. According to The New York Times, only 3 people voted against the designation, including the house’s current owners, the developers of 8081 Meridian, John Hoffman and Steve Sells.
When the pair bought the house back in June for only $1.8 million (from the pair the Wright’s granddaughters had sold the house to for $2.8 million), they thought it was “too good to be true.” The property alone could make up to $1.4 million; the pair hoped that by splitting the lot they could make even more.
Unfortunately however, Mr. Sells had no idea of the house’s architectural significance. As he told The New York Times, he didn’t know the difference “between Frank Lloyd Wright and the Wright brothers. ”
More on the Developers’ side of this demolition tale, after the break…
The New York Time’s Michael Kimmelman described it as an “ennobling experience, a gift,” a lesson on what architecture, at it’s best, can be.
Indeed, entering the Main Concourse of Grand Central Terminal is a pleasure that rivals few others. For me, it took me by surprise: walking, as New Yorkers do, in a determined beeline through an undistinguished tunnel, I was suddenly struck by light. I stopped, as New Yorkers never do, to observe a vaulted, starry ceiling, the changing light, and multitudes of people whipping by.
Grand Central is one of New York’s most beloved icons, one of the few which tourists and natives share alike. Which is not to say, of course, that it isn’t in need of a face-lift.
The Terminal’s upcoming centennial, which corresponds with proposed re-zoning laws that would completely change the face of Midtown, makes now the perfect moment to consider how Grand Central’s grandeur can be preserved and its neighborhood reinvigorated. Last week, the Metropolitan Art Society (MAS) invited three firms to share their visions – and while SOM’s gravity-defying “halo” may have stolen the show, only one truly captured the spirit of Grand Central, and explored the full potential of what it could – and should – one day be.
As part of the Sukkahville Design Competition in Toronto, organized by the Kehilla Residential Programme, Christina Zeibak and Daphne Dow were selected as winners for their ‘Hegemonikon’ exhibition. The seat of the soul which rules and guides all the others, the project is considered to exist within the heart of all living things. The complete development of the human Hegemonikon comprises absolute rationality; it chooses action according to reason. This philosophy was the foundation and inspiration behind the design concept of this project. More images and the designers’ description after the break.
Designed by A-001 Taller de Arquitectura and BNKR Arquitectura…, their proposal for the new National Museum of Afghanistan turns to the Afghan people for their version of history. Through an eloquent architectural plan and a daring museographic concept, the
Architects: Burgos & Garrido arquitectos
Location: Paseo de la Cuba, Albacete, Spain
Architects: Francisco Burgos & Ginés Garrido / BGAA
Collaborators: Agustín Martín, María José Arquero, Pierre Banchet, Carlos Carnicer, Myriam López-Rodero, Javier Malo de Molina, Elena de las Moras, Emilio Ontiveros, Pilar Recio, Marta Rogado
Project Year: 2010
Project Area: 9.778,25 sqm
Photographs: Ángel Baltanás
The winning proposal in the Daegu Gosan Library competition, by architect Gorka Blas, conceives the library as a cultural and social space for the local community. For this purpose the project focuses in obtaining a functional, attractive and confortable facility that constitutes an essential element for neighborhood´s everyday life. In order to achieve this objective, the project translates the scale of the domestic space to a public facility, without lack of its public dimension. More images and architects’ description after the break.
Last week, Donaire Arquitectos was selected as the winner of the international competition, organized by ArchiFolio, to build the new A.M. Qattan Building, which is a charity that has worked towards the development of culture and education, with a particular focus on children, teachers and young artists. Located in Ramallah, Palestine, the winning proposal for the Quattan Foundation is perceived as a lighthouse bringing enlightenment to the Palestinian people. This role as flagship of Palestinian culture is in need for a recognizable image worthy to represent its social leadership with a physical landmark. More images and architects’ description after the break.