Every year in August, a temporary metropolis is erected in Black Rock City, Nevada. This is Burning Man, an annual event of art and architecture that attracts some 70,000 participants. The people who come to Burning Man come from all walks of life. What is incredible is that they come together to construct an ephemeral city that lasts for 7 days. These people assume the role of architects and construction workers and use the desert to build all sorts of shelters in a fast, sustainable way. The desert is so remote, and everything built in Black Rock City is packed and taken home at the end of the event, and some of the art is burned on site. This poses a unique architectural challenge. The people who have come to build these structures have to plan them way in advance to accommodate all the challenges of working in the desert, but the result is worth it - a striking, unique city, democratically built, set against a desert landscape, and for only one week.

We had the chance to interview Kim Cook at the World Architecture Festival in Berlin. Kim Cook is Director of Art and Civic Engagement at Burning Man. Kim Cook and her team are tasked with increasing the impact of Burning Man’s arts and civic initiatives. As part of her role, Kim engages with artists and community leaders to increase opportunities for funding, collaboration and learning.

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This article was originally published by Common Edge as "Why the Best Response to the Grenfell Tower Fire Isn’t a Memorial."

Memorials play an integral role in marking significant people, moments, or events. In recent years, they have become glorifications of tragedy by attempting to express unimaginable horrors in poetic and beautiful ways. The issue with the many forms that memorials take is that they seek to placate the immediate reaction and hurt of an event, an understandable societal reaction, but one that often feels rote and hallow.

But what if memorials sought to preserve the memory of those affected by offering a solution that addressed how the tragedy occurred? The international response to tragedy has, by default, become to install a statue, build a wall, create a healing water feature, erect an aspirational sculptural object, or simply rename a park. None of these responses are inherently bad—they’re usually well-meaning and on occasion quite moving—but there is another approach available to us: changing the public perception of memorials by looking at them through the lens of solutions, encouraging people to think of them as a testament or proper response to tragedy, not just a plaque that over time goes unnoticed. While this approach might be difficult in some instances, the case of Grenfell Tower fire in London presents a rather obvious solution.

Videos

Satellite images of Earth at night make for fascinating, beautiful pictures. But they also confront us with a growing form of pollution. Why do we waste so much energy to light outer space when we only need light on the ground? High-resolution satellite data can now deliver detailed insights into how humans have shaped the night, and these earth observation systems are about to reform our urban planning. They can become an integral part of project development and control, as many strange ecological, political and social phenomena become apparent with a closer look at the night-time imagery of our planet.

The idea of becoming an architect and working in the field can seem to go against notions of a good work-life balance. With long journeys, pressing deadlines and the need to make informed decisions quickly, combined with potentially low wages and a quagmire of tricky working relationships and red-tape, architecture is conceived to be one of the most stressful professions.

A survey by Architect's Journal in 2016 found that 25% of UK architecture students are seeking mental health related treatments. In an article by Jennifer Whelan, published in May 2014 about mental health of architectural students, the author discusses the results of research conducted by the University of Toronto Graduate Student of Architecture, Landscape and Design (GALDSU) where the majority of students admitted to regularly pulling all-nighters, skipping meals, forgoing extracurricular social activities, and rarely exercising in order to finish projects on time.

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).

In 1961, the architect Louis I. Kahn was commissioned by the Fine Arts Foundation to design and develop a large arts complex in central Fort Wayne, Indiana. The ambitious Fine Art Center, now known as the Arts United Center, would cater to the community of 180,000 by providing space for an orchestra, theatre, school, gallery, and much more. As a Lincoln Center in miniature, the developers had hoped to update and upgrade the city through new civic architecture. However, due to budget constraints, only a fraction of the overall scheme was completed. It is one of Kahn’s lesser-known projects that spanned over a decade, and his only building in the Midwest.

As the shadows of the past loom around what’s left of the overgrown houses and pathways, videographer Joe Nafis has perfectly captured the rare charm of the abandoned fishing village of Houtouwan using his drone. From above, you can appreciate the extent of the foliage carpeting the walls, roofs, and openings. It was the promise of this unlikely setting that first led Nafis to visit the village as part of a fashion shoot.

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Since the start of civil war in 1991, the political and architectural landscapes of the East African country of Somalia have been unstable. While the country’s urban centers, such as the capital city Mogadishu, boast a diverse fabric of historic mosques, citadels, and monuments alongside modernist civic structures, the decades of conflict have resulted in the destruction of many important structures. And, while the fighting has substantially subsided in recent years, the future of the country's architectural heritage is still far from secure.

In response, Somali architecture students from across the UK, Italy, and the United States have banded together to form Somali Architecture, an ongoing research project archiving and digitally "rebuilding" iconic structures through 3D models. Their goal is “to preserve the identity and authenticity” of Somalia through its architecture—both existing and destroyed. “We want each iconic building of the past to be reinterpreted for a more coherent future,” they say.

See below for a selection of the structures Somali Architecture has uncovered and re-constructed so far.

This article was originally published by Metropolis Magazine as "Inside the Design of Norway’s Most Controversial Building."

The sun is setting fast over a half-frozen hill about five miles west of Oslo. Named Kikkut after a now-demolished villa, the site neighbors Ekely, the old estate of Edvard Munch (itself now half razed), and save for some graffiti-covered detritus and an early crop of spring wildflowers, its peak is totally barren. Squinting northward to Munch’s Winter Atelier some 500 feet in the distance, it’s hard to believe this is the proposed site for A House to Die In: one of the most controversial building proposals in recent Norwegian history.

The brainchild of Norway’s enfant terrible artist Bjarne Melgaard, the proposal for “A House to Die In” is a luminescent, UFO-like living sculpture that doubles as a studio and home for Melgaard and his parents. With financial backing from two of the most powerful property developers in the country, the Selvaags and Sealbay A/S—longterm friends of the artist who also supplied the plot of land on the outskirts of the city—the Oslo-based Melgaard approached local Norwegian firm Snøhetta in 2011 with his idea for a combined artwork, studio—and final resting place.

Some of the greatest architectural works throughout history have been the result of religion, driven by the need to construct spaces where humanity could be one step closer to a higher power. With more people choosing a secular lifestyle than ever before, are the effects that these buildings convey—timelessness, awe, silence and devotion, what Louis Kahn called the “immeasurable” and Le Corbusier called the “ineffable”—no longer relevant?

With the Vatican’s proposal for the 2018 Venice Biennale, described as “a sort of pilgrimage that is not only religious but also secular,” it is clear that the role of "religious" spaces is changing from the iconography of organized religion to ambiguous spaces that reflect the idea of "spirituality" as a whole.

So what does this mean? Is there still a key role for spirituality in architecture? Is it possible to create spaces for those of different faiths and those without faith at all? And what makes a space "spiritual" in the first place?

Airport design is both an art and a science: the best terminals are not only functional, but also beautiful and awe-inspiring spaces. Millions of people pass through these terminals every day, yet few understand their inner workings as well as Roger Duffy and Derek A.R. Moore—design leaders at SOM who have conceptualized some of the most ambitious aviation projects around the world, including Terminal 2 at Chhatrapati Shivaji International Airport in Mumbai. In this interview, Moore, a Director, and Duffy, a Design Partner, reflect on the complicated challenges of airport design, and how these constraints can fuel creative solutions.

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As Shanghai works hard to become an international economic, financial, trade and shipping center of the world, the city powers behind to keep up with the ever-growing needs. Joe Natis’ video follows the demolition of the buildings that didn’t quite make the cut for the fast-paced 21st century living as soaring skyscrapers and developments take their place.

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What is the role of sound and acoustics in the work of leading architecture practices? In February this year, reSITE and MAAT in collaboration with Meyer Sound hosted RESONATE: Thinking Sound and Space, a conference focused exclusively on the intersection of architecture and sound.

Elizabeth Diller of Diller Scofidio + Renfro, Snøhetta's Kjetil Trædal Thorsen, Michael Jones from Foster + Partners, the founders of Meyer Sound, and the pioneer of sound art Bernhard Leitner spoke with reSITE and Canal 180 at MAAT Museum in Lisbon, Portugal. Below are the 4 episodes in the series, where they discuss the role of sound in designing cultural venues and concert halls and the changing role of the architect in an age of specialization:

Today marks what would have been the 100th birthday of the leading Danish architect, Jørn Utzon. Notably responsible for what could be argued to be the most prominent building in the world, the Sydney Opera House, Utzon accomplished what many architects can only dream of: a global icon. To celebrate this special occasion, Louisiana Channel has collaborated with the Utzon Center in Aalborg, Denmark to put together a video series to hear prominent architects and designers talk, including Bjarke Ingels and Renzo Piano, about their experiences with Utzon and his work—from his unrivalled visual awareness of the world, to his uncompromising attitude that led him to create such strong architectural statements.

Unlike many architects around at the time of Jørn Utzon, who as modernists rejected tradition in favour of new technologies and orthogonal plans, Utzon combined these usually contradictory qualities in an exceptional manner. As the architects recount, he was a globalist with a Nordic base, that has inspired the next generation to travel the world and challenge their concepts. Many of them compare his work to Alvar Aalto’s, as both shared an organic approach to architecture, looking at growth patterns in nature for inspiration. Utzon even coined this approach "Additive Architecture," whereby both natural and cultural forms are united to form buildings that are designed more freely.

Art, in general, is made to be seen or experienced by another, an interlocutor, who, in turn, establishes various relationships with the art work. However, this is not the case of the Bataan Chapel, built by the Swiss artist Not Vital in the Philippines.

Ravaged by constant winds, the art work rises on a hill in rural Bagac, a town of just under 30,000 inhabitants located about 50 kilometers west of Manilla. The remote location of the building makes access difficult and the journey becomes a sort of pilgrimage — part of its grace lies precisely in its inaccessibility.

At the meeting point of the Grand Canal and the Giudecca Canal in Venice is a triangular plot of land, the Punta Della Dogana. On the site sits a long, low-slung 17th-century structure punctuated at its tip by a squat tower topped with an ornamental green and gold weather vane representing fortune. This former customs house of Venice, the Dogana da Mar, was purchased in 2007 by François Pinault with the intention of converting the structure into an art museum, a task he entrusted to Tadao Ando.

While the Japanese architect may not have been the obvious choice to work with a historic Italian building, Ando's solution combined a total respect for the existing building with the sharp minimalism for which he is known. Stripping back centuries of additions, the building was largely restored to its original structure. At the heart of the building's deep plan, a pure concrete volume hints at the architect of the restoration, serving to organize the spaces around it. In 2013, the building was photographed by Luca Girardini on the occasion of the exhibition "Elogio del dubbio."

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In buildings where openness, brightness, and outward views are highly valued by the users of our projects, glass predominates as an exterior cladding in cities all around the world. This forces us to look for options that can manage the excess of solar radiation and maintain thermal comfort in all seasons, without obstructing the views or darkening the interior spaces.

Prefabricated metal meshes provide certain qualities and flexibility that can work well in conjunction with glass; here we present 8 tips to work with this material and take advantage of its potential.

There's an old, weary tune that people sing to caution against being an architect: the long years of academic training, the studio work that takes away from sleep, and the small job market in which too many people are vying for the same positions. When you finally get going, the work is trying as well. Many spend months or even years working on the computer and doing models before seeing any of the designs become concrete. If you're talking about the grind, architects know this well enough from their training, and this time of ceaseless endeavor in the workplace only adds to that despair.

Which is why more and more architects are branching out. Better hours, more interesting opportunities, and a chance to do more than just build models. Furthermore, the skills you learn as an architect, such as being sensitive to space, and being able to grasp the cultural and societal demands of a place, can be put to use in rather interesting ways. Here, 3 editors at ArchDaily talk about being an architect, why they stopped designing buildings, and what they do in their work now.