Among the rushed atmosphere of the Singapore Changi Airport, ART+COM has created an installation in which brings all the commotion to a halt. Located in the departure check-in hall of Terminal 1, “Kinetic Rain” is composed of 608 lightweight aluminum rain droplets, coated in copper, that are suspended from thin steel ropes on two opposing escalators. Each droplet seemingly floats into its precise location during a 15-minute, computationally designed choreography where the two parts move together in unison. The entire installation spans a total area of more than 75 square meters and spreads over 7.3 meters in height.
Maggie’s has proudly announced that the Glasgow architects of NORD… have agreed to design the Maggie’s Centre in the grounds of Forth Valley Royal Hospital in Larbert. The principle funder from Walk the Walk is expecting a “beautiful, unique and
With the support of the Minister for Local Government Greg Clark MP in the UK, ResPublica and RIBA have launched a discussion paper that changes the fundamental system of neighborhood planning by proposing that communities should have a much greater influence and more power in the design process of urban planners. The paper, fittingly titled “Re-thinking Neighbourhood Planning: From consultation to collaboration“, discusses the value of “real community-led planning” in which professionals, developers, local authorities and communities create partnerships in preparation for planning and design work. The report supports community engagement and outreach, investing in the belief that partnerships and collaboration will bring trust and understanding to the relationship between planners and the communities that their policies affect.
More on this report after the break.
Today we celebrate the 78th birthday of Michael Graves (born July 9, 1934).
Graves is one of America’s most influential figures in architecture and design. Part of the The New York Five, he played a key role in the transition between abstract modernism and post-modernism. His designs communicate a clear point of view reflecting a sense of playfulness with sophistication. The balance of traditional elements (typically through arches, columns, and pediments) and exploration with color convey the lessons of modern architecture while referring to historical details.
He started his own practice in Princeton, NJ in 1964, and has been a teacher at Princeton University for more than 40 years. Among his recognitions we can find the Felllow of the AIA (1979), the National Medal of Arts (1999), the AIA Gold Medal (2011), the AIA Topaz Medal (2010) and Driehaus Prize for Classical Architecture (2012). His works can be found in North America, Africa, Asia and Europe.
Michael Graves has also done a vast amount of work in the field of industrial design, including furniture, artifacts, jewelry and dinnerware for companies such as Disney, Alessi, Steuben, Phillips Electronics, Black & Decker, and his own line with more than 100 products for Target.
We celebrate his 78th birthday with an ArchDaily logo inspired by the St Coletta School in Washington D.C.:
More from Michael Graves at AchDaily:
The Alvar Aalto Museum’s first mobile-phone service, AALTOsites, brings the Alvar Aalto-designed buildings in the Metropolitan Helsinki region to your smartphone. AALTOsites, downloadable free for smartphones, puts an interface to Aalto’s architecture and design directly into the user’s pocket.
The bank architect’s goal is to create a secure edifice. The bank robber’s? To subvert the edifice. And yet consider their commonality: their interaction with space. Both analyze plans and consider inefficiencies, both inhabit the space much differently than your average spectator. In fact, the Robber’s relationship with space is far more physical, urgent…nuanced. As Mehruss Ahi, a recent graduate from Woodbury University, puts it in his senior thesis: “The Architect is the Bank Robber…and the Bank Robber is the Architect.”
Ahi suggests a Robber-like “spatial hack” of the bank: an identification of its inefficiencies/vulnerabilities/paths of circulation. He also notes the necessity of giving priority to large storage space for goods rather than money (due to “the migration of banking services to the Web”). This new perspective, Ahi argues, will allow architects to design a smarter, more secure bank. The bank of the future.
Ahi’s assertion about the need for physical storage space (as banks turn to the Web), got me thinking. Our world depends less and less on physical storage, and more and more on the bits of information flying through the wires and cables of the internet. Ahi’s theory, while an interesting insight into bank design, is even more powerful when applied to the bank’s modern day equivalent: the Data Center.
The disappointment generated by the Shard’s opening laser light show is not so surprising for a project that has been grounded in controversy for over a decade. Since 2000, when Piano sketched his initial vision upon meeting developer Irvine Sellar, the project has consistently met obstacles such as English Heritage and the financial crash of 2007. But, the biggest opposition of the tower has been its height. English Heritage claimed that the tower, formerly known as London Bridge Tower, would “tear through historic London like a shard of glass” (ironically, coining the new name of the tower), and Piano counters that, “The best architecture takes time to be understood…I would prefer people to judge it not now. Judge it in 10 years’ time.”
Leading us to wonder…does the Shard simply need time to be fully appreciated?
The first prize winning design for the Technology Center in Bologna by gmp Architekten converts a former industrial heritage building into a modern technology park. With an area of about 110,000 square meters, the center includes an exhibition hall, laboratories, offices, a seedbed center for research affiliated with the university, and teaching facilities such as lecture halls and university institutes. In addition, there will be conference facilities, including hotel and service areas such as shops, a day nursery, restaurants and refectories to be established in the former power station. More images and architects’ description after the break.