Belatchew Arkitekter has presented a concept for transforming high-rise towers into power-generating factories. The Swedish firm's proposal involves covering a Stockholm skyscraper with "electricity-generating bristles". The tower in question is Henning Larsen's Söder Torn tower on Södermalm in Stockholm. Belatchew has designed a wind farm that will top the existing building with a 16-story extension, covering the facade with "hairy-looking plastic straws designed to move with the wind".
Join us after the break for more details and images of this proposal.
Zaha Hadid Architects’ Riverside Museum in Glasgow, Scotland, has won the prestigious European Museum of the Year Award (EMYA) for it’s ability to “demonstrate brilliantly how a specialist transport collection can renew its relevance through active engagement with the wider social and universal issues.”
Out of 40 museums from across 21 European countries, the jury agreed unanimously that ZHA’s Riverside Museum fulfilled the EMYA criteria of ‘public quality’ at the highest level.
Free of clutter but filled with light, shadow and sculptural forms, filmmaker Matthew Donaldson takes you inside the minimalist masterpiece that Italian architect Claudio Silvestrin calls home. As part of NOWNESS’ In Residence series, this video sheds light Silvestrin’s “reductive, contemplative, near-ecclesiastical spaces” that can be found across the globe – from Moscow to Majorca, and soon-to-be in Miami, where Silvestrin is currently designing a home from Kanye West that will undoubtedly exhibit many of his signature components.
Among the extensive discussion of Feilden Clegg Bradley's scheme to redesign the Southbank Centre in London, one issue which has sometimes been ignored by the architectural media has been the proposal to relocate the skate park in the under-croft of the Queen Elizabeth Hall to a space beneath the nearby Hungerford bridge.
Unsurprisingly, this decision has sparked a petition which has collected nearly 40,000 signatures to save one of the UK's most famous skating hotspots. We’ve talked about how skaters can teach architects about understanding space before; however, in this instance I would like to examine how skaters as a (sub)cultural entity interact with the city, and how the city can cater to their needs. Though many architects are already in favor of accepting skaters, I hope to explore why the wider community tends to see skating as a problem to be solved, and what this can reveal about the proposal at the Southbank Centre.
Read on to find out more about the peculiar way skaters experience cities
Responding to Director Rem Koolhaas’ theme “Absorbing Modernity: 1914-2014” for the 2014 Venice Architecture Biennale, titled “Fundamentals”, the British Council has launched an open call for exhibition proposals that investigate how an aspect of British architecture has adapted to the condition of modernity during this era.
Originally published on Intercon, Ohioan and Africa-based architect Charles Newman, LEED AP discusses the pitfalls of LEED in rural Africa. Newman, who is currently working for the International Rescue Committee in Bukavu, Democratic Republic of Congo, is dedicated to the integration of sustainability in communities worldwide. Learn more about his work and travels on his blog Afritekt.
While in a small southern town of the Democratic Republic of Congo in mid-2012, a colleague of mine approached me for some guidance on a large health proposal he was putting together. A portion of the grant would be earmarked for the construction of hundreds of clinics across the DR Congo, and he mentioned that the donor would be very interested in “green” building standards. Knowing that I was a LEED Accredited Professional, he began asking how we might be able to incorporate such building standards into the designs for the pending projects. I rattled off some general guidelines such as using local materials – recycled ones if available, incorporating existing infrastructure, natural ventilation, etc. He jotted down a few notes, then began to pry a little deeper. “What about the LEED point system? Could we incorporate that into our strategy?”
My response was frank: “No, not really. LEED doesn’t work here in rural Africa.”
August Kekulé discovered the structure of the benzene ring after having a daydream of the Ouroboros, a famous mythological snake depicted as biting its own tail. Francis Crick figured out the complimentary replication system of DNA when he remembered the process of replicating a sculpture by making an impression of it in plaster, and using it as a mold to make copies. Johannes Keppler attributes his laws of planetary motion to an inspiration from religion: the sun, the stars, and the dark space around them represent the Father, Son, and Holy Ghost respectively.
What’s the point? According to Arthur Koestler, “all decisive events in the history of scientific thought can be described in terms of mental cross-fertilization between different disciplines.” Great discoveries arise not from the isolated hermit working without interference, but from tireless work enlightened by unintentional collisions with an unfamiliar subject. For Kekulé, it was ancient mythology, for Crick, sculpture, and for Keppler, religion.
Creativity and innovation, then, thrive where disciplines collide. And this is true not only for science, but for all subjects. We all have something to learn from one another, and what better place to encourage this cross-fertilization than school?
Keep reading to find out more about how interdisciplinary architecture can foster creativity and collaboration in schools…
https://www.archdaily.com/370486/can-architecture-make-us-more-creative-part-iii-academic-environmentsJonathan C. Molloy
There is something soothing, even easy about vernacular architecture. It’s the territorial and spatial equivalent to Muzak. It evades and pre-dates the self-conscious identity of glitzy, cutting-edge architecture we are so familiar with today. There is an innocence to the vernacular. These are the buildings and environments of childhood.
This is apparent in the exhibition, In Focus: Ed Ruscha, currently showing at the J. Paul Getty Museum at the Getty Center in Los Angeles. What captivates about the shots is that they dare to curate buildings that are usually just part of the background. They become objects of curiosity, spectacles, even.
On Tuesday, a sea of green and blue flooded the Fort Lauderdale City Commission chamber to either support or oppose a BIG, $250 million multi-use development planned to infill an industrial gap on the waterfront of Downtown Fort Lauderdale. Although the majority of the crowd seemed to be in favor of the “impressive, innovative and even daring” project, concerns arose regarding the Marina Lofts’ density, height and traffic impact – many of which were appeased by developer Asi Cymbal’s decision to reduce the two 36-story towers to 28, which cut nearly 100 housing units from the project.
Other last ditch opposition efforts regarded the controversial plan to move a giant rain tree that wasn’t within the purview of the board’s review. Despite this, following an hour-long presentation by Cymbal and his staff, the Planning & Zoning board unanimously voted 9-0 in favor of the project.
In Russia, hundreds upon hundreds of buildings are endangered. The work of making sure they don't become extinct? That's in the hands of a tireless few.
One of these crusaders is Natalia Melikova, the author of The Constructivist Project, an on-line web site that seeks to preserve the memory - and hopefully inspire the protection of - Russia's avant-garde architecture. Although it began as her thesis project, it's steadily become one of her life passions. In Melikova's words, "By sharing photographs (my own and others), articles, events, exhibitions, and other resources on the topic of the avant-garde, The Constructivist Project unites common interest and appreciation of Russian art and history and makes it accessible to an international English-speaking audience. This is a way to initiate discussion not only of the perilous situation of Russian avant-garde architecture but also of cultural preservation and urban development in general."
See 10 of Melikova's images, snapshots into a part of Russian history quickly being forgotten, with her descriptions, after the break.
In the early years of the New York City subway system, natural light played a dominant role in the illumination of subterranean spaces. The architecture emphasized a connection to the sky, often through skylights planted in the median of city avenues above — lenses in the concrete sidewalks.
However, it proved extremely difficult to keep the skylights clean, and light eventually stopped passing through. Subway authorities moved toward an almost exclusive reliance on electric lighting. While this allowed for greater flexibility in station design, permitting construction at any location and depth, it also created a sense of disorientation and alienation for some passengers.
For the design of Lower Manhattan's Fulton Center, Arup, in conjunction with design architect Grimshaw sought to reconnect the century-old subway system with the world above.
Read more about this "enlightening" subway station, after the break...
Detroit, Michigan; Courtesy of Flickr User DandeLuca, licensed via Creative Commons
Young entrepreneurs gravitate to places where they can become the founders of a revitalized culture; where land is cheap and available and innovation is uninhibited by a status quo. Detroit, Michigan has become one of those places. The media gives us a portrayal of a wasteland, a post apocalyptic landscape of dilapidated homes and infrastructure. But there is plenty opportunity for start-ups to redefine Detroit's future. That it why young innovators and risk-takers are needed to bring new energy and awaken new markets within the city. A recent article by Chuck Salter for Fast Company identifies six entrepreneurs who have started businesses in Detroit. They vary from grassroots campaigns to inform people of opportunities within the city to small scale enterprises that bring retail and infrastructure to the downtown area and surrounding neighborhoods.
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Currently, many of Moscow's motorways are occupied more as motorways than public space. Image via shutterstock.com
Russia has madly, passionately (and not a little blindly) fallen in love. And, as with any love affair worth its salt, this one will have its fair share of consequences when the honeymoon ends.
The object of Russia’s affection? The good, old-fashioned automobile.
It started fast and has only gotten faster. In 2005, Russia’s auto industry grew 14%; in 2006, 36%; and, in 2007, a whopping 67% - an exponential growth that attracted foreign investors, particularly after 2009, when the country welcomed companies like GM & Ford with open arms. Today, the ninth largest economy in the world is the seventh-largest car market, positioned to surpass Germany as the largest in Europe by 2014.
Nowhere is this love affair more evident, more woven into the city itself, than in Moscow. The city has a reputation (perhaps rivaled only by Beijing’s) for traffic, pollution, and downright hostility to pedestrians. And, ironically, because of its epic congestion, the city continues to expand its highways and parking spaces.
We’ve heard that story before, and we know how it ends - for that matter, so does Moscow. But passion, by nature, is blind - and stopping a love affair in its tracks is far from easy.
As the final segment of the One World Trade Center was hoisted into position – topping the structure out at a patriotic 1,776 feet – Curbed NY captured its journey via a small Go-Pro camera to reveal its fascinating, and somewhat nauseating, view of Manhattan.
While the US rejoices this monumental feat, a debate amongst architects, engineers and city officials lingers on whether or not the 408-foot spire will count towards the One WTC’s overall height and allow it to officially claim its title as the tallest building in the Western Hemisphere. Although the Port Authority argues that the spire doubled as a radio antenna is considered as non-essential telecom equipment and therefore should not be considered as part of the “architectural top”, the Council on Tall Buildings and Urban Habitat will make the final call in October.
Since the emergence of the modern multi-storey building in the late 19th century, screenwriters and art directors have embraced the high-rise building as both backdrop and prop in the drama of feature films. It’s easy to understand the fascination. The precarious nature of a skyscraper – their height, their reliance on competent engineering and emergency systems, and their all-controlling security – provide abundant opportunities for action and disaster. And all with a built-in view.
But while Hollywood loves a high rise, it hasn’t treated them well. Plot lines usually tap into a general scepticism about the kind of engineering feats which make them possible and often carry some underlying moral message about the dangers of technology and advancement.
Jane Jacobs revered the West Village. It was a bustling neighborhood enlivened by its social, spatial, and functional diversity. It had different building types and functions, which meant that people were always in places for different purposes; it had short blocks, which have the greatest variety of foot traffic. It had plenty of old buildings with low rent which “permit individualized and creative uses;” and, most importantly, it had all different kinds of people. As a result, West Villagers could establish casual and informal relationships with people that they might not have had the opportunity to otherwise.
Without these necessary characteristics, Jacobs felt “there is no public acquaintanceship, no foundation of public trust, no cross-connections with the necessary people – and no practice or ease in applying the most ordinary techniques of city public life at lowly levels.”
By simply changing a few words, it’s not hard to imagine Jacobs’ writing describing offices instead of cities. Buildings are different internal spaces, like individual offices or gathering spaces; desks are homes; sidewalks are hallways or circulation space; etc.
If the office is a small microcosmic city, then suburbia is the cubicle-strewn office, and Google might be the West Village. And ‘people analytics,’ the statistical and spatial analysis of interpersonal interaction, is the office’s urban planning.
To find out what creative work environments can learn from the composition of cities, keep reading after the break...
https://www.archdaily.com/367700/can-architecture-make-us-more-creative-part-ii-work-environmentsJonathan C. Molloy
Daniel Libeskind has been selected among two other renowned artists to design the Ohio Statehouse Holocaust Memorial in Columbus. The 18-foot tall memorial brushed stainless-steel memorial will be punctuated by the six-pointed Star of David and accompanied by a 40-foot walkway with words etched in limestone.
