New photographs released by ceramics manufacturer AGROB-BUCHTAL show nature beginning to claim the Oasia Hotel Downtown in Singapore. WOHA Architects’ 30-story scheme was designed to be a “verdant tower of green” in the heart of the city’s financial district.
The tower’s red aluminum mesh cladding has begun to sprout a lush landscaping, consisting of 21 different species of creepers. The colorful flowers and green leaves provide food for birds and insects, while the reaction of the creepers to different light, wind, and shade conditions come together to form a natural mosaic.
Bridging the gap between the old and the new is never easy. Traditional building methods, where you often adjust to the unpredictability of a natural material, seem to contrast with the mechanical precision of modern construction. Sombra Verde - a bamboo gazebo developed by AIRLAB and Singapore University of Technology and Design (SUTD) as part of Singapore’s Urban Design Festival 2018 - bridges this gap. The traditional raw bamboo poles, used extensively throughout Southeast Asia, are combined with 3D printed connectors, utilizing a series of new technologies. The result is an iconic, lightweight structure in Singapore’s Duxton Plain Park that promotes the use of public space, sheltering the population from both the intense sun and heavy rain.
The downtown skyline of a city is perhaps its most symbolic feature. The iconic cityscapes that we know and love are typically formed by skyscrapers, but much of the surrounding context is made up of other high-rise buildings. Yes, there is a difference between a skyscraper and a high-rise. Research company Emporis defines a high-rise as a building at least 35 meters (115 feet) or 12 stories tall. These high-rise buildings play a major role in the more sprawled urban context of larger cities today.
Read on for Emporis' list of the 20 cities in the world with the most high-rises. You might be surprised by which cities made the cut.
Mercer released their annual list of the Most Livable Cities in the World last month. The list ranks 231 cities based on factors such as crime rates, sanitation, education and health standards, with Vienna at #1 and Baghdad at #231. There’s always some furor over the results, as there ought to be when a city we love does not make the top 20, or when we see a city rank highly but remember that one time we visited and couldn’t wait to leave.
To be clear, Mercer is a global HR consultancy, and their rankings are meant to serve the multinational corporations that are their clients. The list helps with relocation packages and remuneration for their employees. But a company’s first choice on where to send their workers is not always the same place you’d choose to send yourself to.
And these rankings, calculated as they are, also vary depending on who’s calculating. Monocle publishes their own list, as does The Economist, so the editors at ArchDaily decided to throw our hat in as well. Here we discuss what we think makes cities livable, and what we’d hope to see more of in the future.
Sand is the most-consumed natural resource in the world after water and air. Modern cities are built out of it. In the construction industry alone, it is estimated that 25 billion tons of sand and gravel are used every year. That may sound a lot, but it’s not a surprising figure when you consider how everything you’re surrounded with is probably made of the stuff.
But it’s running out.
This is a scary fact to think about once you realize that sand is required to make both concrete and asphalt, not to mention every single window on this planet. The United Nations Environment Programme found out that from 2011 to 2013, China alone used more cement than the United States had used in the entire 20th century and in 2012, the world used enough concrete to build a wall around the equator that would be 89 feet high and 89 feet thick (27 by 27 meters).
The Terminal 5 building will accommodate 50 million passengers per year, giving Changi Airport a total capacity of 135 million by the late 2020s. The scheme is being developed within the context of a $1.2 billion expansion programme, which has seen the completion of a Terminal 4 building by Benoy, and a mixed-use “Jewel” biodome by Safdie Architects, pictured above, set to contain the world’s largest indoor waterfall.
https://www.archdaily.com/892371/heatherwick-reportedly-prevails-in-competition-for-airport-super-terminal-in-singaporeNiall Patrick Walsh
After finishing a building, the client is faced with an important question: How do they celebrate the new architecture? This moment offers an essential opportunity to inform the public about the existence and mission of the building. Therefore, the designs of opening ceremonies are often loaded with symbolic imagery to construct a new identity. Fireworks and light shows are an especially common part of the powerful repertoire used to magnify the aura of architecture. This luminous storytelling can underline the client’s uniqueness and superiority on both a local level and an international stage. I spoke with two leading designers to get their insights on how opening ceremonies have changed in recent years: Christophe Berthonneau, Creative Director at Groupe F, who introduced the Louvre Abu Dhabi, and Fred Thompson, Creative Director at Laservision Mega Media, who worked on the opening of the Marina Bay Sands in Singapore.
Bjarke Ingels Group and Carlo Ratti Associati have broken ground on 88 Market Street, a new skyscraper at the heart of Singapore's business district. Transforming a site which was previously occupied by a parking structure from the 1980s, the 280-meter-tall building will include plentiful greenery both on its facades and internally. Inside, the building will include offices, 299 serviced residential units, and ancillary retail space.
To speak of Paul Rudolph’s illustrious career is to trace a grand arc stretching from the 1940s to the 1990s. More often than not, the popular narrative begins with his student days at Harvard under the tutelage of Walter Gropius, touches upon his earliest, much-loved Florida beach houses, circles around his eventual break from the rigidity of both the Sarasota School and the International Style, and finally races towards the apex: his chairmanship of the Yale School of Architecture, and the concurrent shift to a Brutalist architectural style characterized by monumental forms, rugged concrete, and interwoven, multilevelled spaces awash with a remarkable interplay of light. Then comes the fall from grace: the beloved Yale Art and Architecture Building went up in flames just as the architecture profession began to question modernist ideals, and eventually Postmodernism was ushered in. Flickering, sputtering, Rudolph's grand narrative arc lurched towards Southeast Asia, bearing away the “martyred saint.” Save for several scattered commissions in the United States, Rudolph spent the last two decades of his life building abroad, mostly across Hong Kong, Indonesia, and Singapore, until his death in 1997.
But of course, time and again, historians have sought to challenge the myth of the failed architect by rereading his understudied work from the late years. Adding to this growing corpus of fresh research and alternate perspectives is architectural photographer Darren Soh’s ongoing project documenting—so far—three of Rudolph’s major works in Southeast Asia: The Colonnade (1986) and The Concourse (1994) in Singapore, and the Intiland Tower (1997) in Surabaya, Indonesia.
Dande-lier – a pavilion designed for the Marina Bay waterfront promenade in Singapore uses PVC pipes and translucent umbrellas to form a reciprocal dome – reimagining everyday items as architectural components. The result is an ethereal shelter, referential of the commonly seen umbrella in Singapore and resembling a dandelion from afar. At night the project becomes a chandelier, lit up in an array of colors.