BIG has unveiled plans for Bassin 7 (BSN7), a new civic-minded, mixed-use neighborhood in Denmark’s second largest city. The phased development will “breathe life into the harbor front,” placing importance on the public realm by organizing the site’s seven residential buildings with a series of recreational and cultural activities, including a beach zone, swimming pools, theater and cafe, along a public promenade.

Among the vast coverage of 3D printing in the media, the technology is frequently cited as the 'future' of production, focusing on its ability to bring new things into existence quickly and cheaply. But does 3D printing have to be all about the future? As this article originally printed by Metropolis Magazine as "3D Printing Saves a Frank Lloyd Wright Treasure" attests, 3D printing also has something to offer to the past; specifically, to a deteriorating Frank Lloyd Wright building whose 'textile block' was simply too complex to restore through any other modern techniques. Read on after the break to find out how this high-tech rescue mission is being achieved.

The Basilica of the Sagrada Família in Barcelona have laid out their planned milestones for the forthcoming year, visualising it in a short film that begins to piece together Antoni Gaudí's incredible vision. The Sacristy and Raking Cornice will be constructed between this year and next, while new stained glass windows will be installed flooding the interior spaces with evermore coloured light.

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This year at the Venice Biennale, not all of the exhibitions are visible. Ozel Office of Los Angeles have "hacked" the Venice Biennale with the help of some major architecture firms: Asymptote Architecture, Greg Lynn Form, Neil M. Denari Architects, Murmur, and Oosterhuis Lenard. Together, these firms have created a rogue digital addition to the Biennale only accessible through a virtual portal revealing a world of levitating models, movable objects, and much more, activated by physical components of the Koolhaas-curated central pavilion.

Find out how you can hack the Biennale after the break.

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The last episode of Al Jazeera’s Rebel Architecture series tells the story of Ricardo, an informal builder in Rocinha, Brazil’s largest favela. “A foreign architect would not get into this hole and dig. He would hire someone or would hire machines. But here in the favela, we are hands on,” he says in the episode. Ricardo has built over one hundred houses in Rocinha despite not having any formal training. Yet as Brazil prepares for the World Cup and the Olympic Games, life in Rocinha is changing. This 25-minute episode follows Ricardo as well as Luis Carlos Toledo, the architect behind the government’s regeneration of Rocinha, as the two seek to incorporate their solutions into the future of the country's favelas.

Watch the full episode above and read on after the break for a full episode synopsis and a preview of upcoming episodes…

In Residence: Ricardo Bofill on Nowness.com

You’ve seen it before, Ricardo Bofill’s captivating transformation of Spain’s oldest cement factory into his own stunning, Brutalist residence. Now, tour through the home’s most unique spaces with the Spanish architect himself as he shares his story about The Factory in the latest of NOWNESS’ In Residence series.

"Architecture is much more than art. And it is by far more than just building buildings" says award winning Burkina Faso architect Diébédo Francis Kéré. In the latest video from Louisiana Channel, Berlin-based Francis Kéré deliberates on the purpose of architecture in a changing society and the influence exerted by his home nation, Burkina Faso. For Kéré, context and medium are key: "I try to use local material: mostly clay and wood, to create buildings that are modern," he says. Kéré's clay modernism represents a new Burkina Faso, using natural and renewable materials as shown in School Library Gando. "If we build with clay we will have a better future, because we will use the resources we have," he adds.

"My people are proud, and that can deliver a lot of energy," says Kéré, optimistic for the future of architecture in Burkina Faso. Watch the video above to find out more about Kéré's approach to his European-based African practice, and read on after the break for ArchDaily's own Interview with Kéré from July.

Cloud Citizen, a proposal for a new high-rise typology by Urban Future Organization and CR-Design, in collaboration with a team of experts at Chalmers Technical University, has been jointly awarded the highest prize in the Shenzhen Bay Super City Masterplan Competition. Their futuristic design features a singular mega building complex that aims to create a hyper dense urban center that gives back to the environment. Read on after the break to learn more about the proposal.

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Jean Nouvel has unveiled the official design for the National Art Museum of China (NAMOC). Originally inspired by the simplicity of “a single brush stroke,” the 21st century art and calligraphy museum will become the centerpiece of a new cultural district at Olympic Park, rising next to the historic axis of Beijing and symbolically connecting to the Forbidden City.

New images of the NAMOC and more from Nouvel, after the break…

Recently, ArchDaily editors received an interesting request from an anonymous Communications Director of an unnamed New York firm, asking us “In your reporting, please do not repeat as fact, or as "official," the opinion that One World Trade Center in New York will be the tallest building in the United States.” He or she goes on to explain that the decision maker who 'announced' the building as the tallest in the US, the Council on Tall Buildings and Urban Habitat (CTBUH), is not officially endorsed by the AIA or the US Government, and that while their work is beneficial for architecture and cities as a whole, their criteria for height evaluation are flawed and have been criticized by many in the industry.

The desire to have the tallest building in a city, country or even the world goes back to at least the medieval period, when competing noble families of Italian hill towns such as San Gimignano would try to out-do each other's best construction efforts (jokes about the Freudian nature of such contests are, I imagine, not much younger). Perhaps the greatest symbol of this desire is the decorative crown of the Chrysler Building, which was developed in secret and enabled the building to briefly take the prize as the world's tallest, much to the surprise and ire of its competitors at the time.

With this competitive spirit apparently still very much alive, I thought it might be worthwhile to address the issue raised by our anonymous friend.

Originally published by Metropolis Magazine, this comprehensive analysis by sustainability expert Lance Hosey examines the current disputes within the green building industry, where market leader LEED currently finds competition from the Living Building Challenge, aiming for the "leading edge" of the market, and the Green Globes at the other end of the scale. Arguing for a more holistic understanding of what makes materials sustainable, Hosey examines the role that materials, and material industries such as the timber and chemical industries, can have in directing the aims and principles of these three sustainability rating systems - for better or for worse.

The latest episode of Al Jazeera’s Rebel Architecture takes us to Nigeria, where architect Kunlé Adeyemi has designed floating buildings to help solve overcrowding and flooding in the country’s waterside slums. “I am constantly inspired by solutions we discover in everyday life in the world’s developing cities,” he says. Yet, despite his studio NLÉ’s easy-to-build, low-cost, sustainable prototype for a floating building, Adeyemi still struggles to get approval for their construction from the local authorities. This 25-minute episode follows Adeyemi as he seeks to implement his floating buildings.

Watch the full episode above and read on after the break for a full episode synopsis and a preview of upcoming episodes…

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Settled comfortably around a black conference table – the only item of furniture in an office space still lacking its carpet tiles – on the 40th floor of the new Leadenhall Building, I had the opportunity to discuss with lead designer Graham Stirk and his partner, practice co-founder Richard Rogers, the forces that shaped their new building and how they came to be working in the City of London once again.

Rogers Stirk Harbour + Partners has a rich presence in the Square Mile, including the landmark Lloyd’s of London, standing directly opposite the Leadenhall Building. The firm has specialised in assured, sometimes assertive insertions within the City’s fine, historic urban grain, and so setting aside the sheer bravura of the 52-story, 225 meter skyscraper, with its sloping glass façade to the south (giving it the popular nickname of the Cheesegrater) the first question that arose was a simple one – how did the building come about?

Chile is recognized internationally for the quality of its architecture, even though its most lauded projects are not often found in urban areas. At a time when the true potential of Chilean architecture seems absent from the South American country's cities, Alejandro Aravena | ELEMENTAL has designed a conceptually - and physically - dense project in Santiago.

German photographer Yannick Wegner has shared with us his latest time-lapse exploration through the Museo Soumaya. Designed by FR-EE / Fernando Romero Enterprise, the 150-foot structure has become iconic in Mexico City’s Polanco district due to its sculptural physique and scale-like skin of 16,000 mirrored steel hexagonal tiles.

Stills of the museum, after the break...

Rem Koolhaas, Steven Holl, Jean Nouvel and Boeri Studio are the masters behind five skyscrapers competing to be crowned the “World’s best.” Chosen as finalists for the 2014 International Highrise Award (IHA), the four practices are in the running for a prestigious title and €50,000 prize.

Award organizers from the City of Frankfurt/Main, Deutsches Architekturmuseum (DAM) and DekaBank at Frankfurt’s Paulskirche will announce a winner in mid-November. The chosen skyscraper will be selected by an esteemed, multidisciplinary jury based on the criteria ranging from future-oriented design and innovative building technology, to the building’s integrative urban development scheme and cost-effectiveness. 

“Good architecture requires a willingness to take risks and a desire to try things out. All the finalists took this approach – there can be no innovation without experimentation. Our shortlist comprises three different prototypes of the future,” commented Jury Chairman Christoph Ingenhoven.

View all five of the competing highrises and the jury’s comments, after the break… 

In this extended interview between Bernard Tschumi and The Architectural Review's Paul Finch, the pre-eminent Swiss-born architect discusses his education, writing, design and wider critical position. Speaking candidly, Tschumi explains how a visit to Chicago when he was seventeen years old sparked a life-long passion for architectural design - something that had been somewhat repressed due to his father who was, at that time, one of the world's most highly respected architects. His friendship with British architect and theorist Cedric Price led to the start of a career that saw his proposals for Paris's Parc de la Villette foreshadow the age of Deconstructivism. Ending with his take on the future of the profession, Tschumi also offers advice to students and young practices looking to make their mark.

ArchDaily is continuing our partnership with The Architectural Review, bringing you short introductions to the themes of the magazine's monthly editions. In this post, we take you back to AR's June 2014 issue, which examines the state of architectural criticism in our age of online media and ever-present PR. Here, AR Editor Catherine Slessor argues that "more than ever, architecture is in need of provocative, engaging and entertaining critics."

Ambrose Bierce, the great 19th-century satirist and author of the The Devil’s Dictionary, once defined a critic as ‘a person who boasts himself hard to please because nobody tries to please him’. Critics occupy a curiously parasitical position in the modern cultural milieu, and an architecture critic perhaps especially so. But in an age when architects can easily find obliging PR minions to dispense their gospel and biddable publishers to churn out infinite, anodyne oeuvres complètes, who still needs critics and criticism?