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Architects: Gensler
- Year: 2017
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Manufacturers: Decoustics, Designtex, Interface, FilzFelt
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Professionals: ACCO Engineered Systems, Devcon, Charles M Salter Associates, Cupertino Electric Inc, Kier & Wright, +6


At a press conference earlier today, curators of the 2018 Venice Biennale Yvonne Farrell and Shelley McNamara of Grafton Architects revealed more information about this year's upcoming event, to be hosted from May 26th to November 25th. Building on the thematic concept the duo presented last June—“Freespace”—the event will feature a main exhibition in the Central Pavilion of the Giardini and the Arsenale featuring work by 71 participants, while two Special Sections will feature a total of 29 further participants. Elsewhere, 65 national pavilions will present contributions from around the world, including 7 first-time participants: Antigua & Barbuda, Saudi Arabia, Guatemala, Lebanon, Mongolia, Pakistan and the Holy See.

There ought to be a word for this kind of film—halfway between a sequel and a reboot—but there isn't, so we just have to call it Blade Runner 2049. The film is perhaps more subtle in the way it refers to Ridley Scott's 1982 dystopian cult classic than some recent sci-fi restorations—Star Wars: The Force Awakens, I'm looking at you—but it isn't above a bit of blatant parallelism. For example, it's easy to see reflections of Blade Runner characters in 2049: private dick Rick Deckard is now the stoic, world-weary K; femme fatale Rachael is Joi, a hologram companion who straddles the line between mortal and machine; wacky Roy Batty is the single-minded, murderous Luv; not to mention a bevy of replicants passing for humans and cops with hidden agendas. In fact, one of the few prominent characters not recast is the city of Los Angeles, whose architecture is strikingly absent compared to the first film. The resulting movie feels curiously devoid of a civic soul, which is perhaps the point.


Fosun Group hired Woods Bagot to transform commercial planning of Dahua, an 82-year-old historic textile mill, into China’s next retail and entertainment district. Located in Xi’an’s urban center, the site sits next to Daming Palace, the Tang Dynasty’s royal residence and a national heritage site which attracts thousands of tourists each year.

As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the UAE Pavilion. Below, the participants describe their contribution in their own words.
The National Pavilion UAE will present “Lifescapes Beyond Bigness,” an exhibition exploring human-scale architectural landscapes, at the 2018 Venice Biennale. The exhibition aims to highlight the role of architecture and urban design in forming the choreography of people’s daily routines. It particularly investigates the role of ‘quotidian’ (every day) landscapes in accommodating, enhancing, and facilitating social activities across different places in the UAE.


In the Lujiazui financial district in Pudong, Shanghai, Kengo Kuma has reimagined a 1972 shipyard into a new 9,000-square-meter multi-use complex, named Shipyard 1862. Behind original, rugged brick walls, the old shipyard was once defined by a 12 by 30-meter grid, which allowed for massive interior spaces to hold ships. In this industrial-style adaptive reuse project, Kuma was careful to preserve the building’s structural and material integrity. These photographs provided by Julien Lanoo show how the industrial shell has been transformed by the refurbishment project.





Hamonic + Masson & Associés have revealed the design of Videcoq, a twisting residential tower to be located in the city of Le Havre, France. Containing 70 total apartments, the building will offer views of the downtown and the Bassin du Roy and Bassin du Commerce marinas, as well as the Le Volcan cultural center designed by Oscar Niemeyer.
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Update 3/2/18: A previous version of this article named Snøhetta as the leader of the team; the principal architect is in fact Liminal Studio.
Australian firm Liminal Studio, in collaboration with Snøhetta and Rush Wright Associates, has been selected as the winner of an international competition for the design of the new History and Interpretation Center at Cascades Female Factory Historic Site in South Hobart, Tasmania.
One of the most significant female penal sites dating back to 19th century, when Australia was still a British penal colony, the Cascades Female Colony was inscribed as a UNESCO World Heritage Site in 2010. The new History and Interpretation Center will allow visitors to learn about the site’s history and how its social, cultural and political implications have impacted present day Australia.