In just over a month, the AIA National Convention is coming to Atlanta to celebrate world class innovations in architecture, new materials and technology. If you haven’t booked your ticket already, here is a chance to attend one of the largest architecture events, free of charge!
reThink Wood is offering a full pre-paid pass to the AIA National Convention ($1,025 value) to one lucky ArchDaily reader. The winner will also be able to meet with architects on site that are passionate about innovative design with wood in mid-rise, and even high-rise structures.
To win, just answer the following question in the comments section before April 20 at 12:00PM EST: What is your favorite example of wood in architecture?
British architect Amanda Levete of London-based studio AL_A has been selected to design Melbourne's second annual MPavilion. The temporary structure will be used to house talks, workshops, performances and installations in the "downtown oasis" of Queen Victoria Gardens starting this October.
"I’ve visited Australia three times in the past six years and without doubt Melbourne is my favorite city," said Levete, commenting on her commission. "It’s people that make a city creative – and that’s why I love Melbourne. The brief from the Naomi Milgrom Foundation is a great opportunity to design a structure that responds to its climate and landscape. I’m interested in exploiting the temporary nature of the pavilion form to produce a design that speaks in response to the weather."
Searching for an alternative to costly and resource intensive materials, Mexican company Plastinova has developed a wood substitute from a byproduct of tequila and recycled plastic which it claims is not only renewable, but also stronger than the materials that it hopes to replace.
This time last year, Hungarian Prime Minister Victor Orbán stood at a podium in a pristine new subway station. Raw concrete beams criss-crossed above him; state-of-the art, driverless trains stood silently beside him. It was the opening ceremony for Line 4, a subway line that due to delays, corruption, and disputes had been 40 years in the making.
“The people of Budapest began to accept the thought that only their grandchildren would use Budapest’s new Metro line, or not even them.” Orbán told the crowd. He recounted an old joke that embodied the cynicism that once surrounded the project: Chuck Norris had been on Metro Line 4.
Orbán credited the line’s completion, which occurred only a few weeks before the 2014 parliamentary elections, to “the solidarity and unity that was established in 2010 [when Orbán’s government took power] and has since been maintained.” He didn’t mention how, under his first government (1998 to 2002), he had withheld funds from the project, contributing significantly to its delay. Nor did he mention that his party had fought against the idea that the line, an expensive infrastructural project, needed architecture at all.
Today, though, the line’s stunning architecture is its most noticeable feature. Line 4 is not just a watershed achievement in Hungary’s history, but also a symbol of what it takes to make contemporary architecture in Hungary today. Both literally and figuratively, contemporary architecture had to go underground.
One of the six winners of the Rebuild by Design competition, Bjarke Ingels Group’s (BIG) “Dry Line” project aims to protect Manhattan from future storms like Hurricane Sandy by creating a protective barrier around lower Manhattan. The barrier will be formed by transforming underused waterfront areas into public parks and amenities. Now, you can learn more about the vision behind the project and how it was developed in a webinar led by Jeremy Alain Siegel, the director of the BIG Rebuild by Design team and head of the subsequent East Side Coastal Resiliency Project. The webinar will take place on Friday, June 12. Learn more and sign-up on Performance.Network.
Flohara by XTU Architects envisions an inhabitable desert wall that constructs itself from the natural processes of its environment. Featured at the Venice Biennale'sMorocco Pavilion exhibition entitled “Fundamental(ism)s,” this ecological phenomenon defies the conventions of housing, offering shelter from varying climatic conditions and supporting both human and plant life in the harsh desert.
At the 2014 Venice Biennale, away from the concentrated activity of the Arsenale and Giardini, was Death in Venice: one of the few independent projects to take root that year. The exhibition was curated by Alison Killing and Ania Molenda, who worked alongside LUST graphic designers. It saw the hospitals, cemeteries, crematoria and hospices of London interactively mapped creating, as Gian Luca Amadei put it, an overview of the capital's "micro-networks of death." Yet it also revealed a larger message: that architecture related to death and dying appears to no longer be important to the development of architecture as a discipline.