Nowadays, new technologies for the treatment of glass provide new ways to use this material in architecture. Applied indoors, specifically in retail stores, glass in its different textures, colors, finishes and levels of transparency can allow the unobstructed view of certain products, hide more private areas without blocking the passage of light, and attract the attention of customers as focal points, among many other uses.
Review below a selection of applications in commercial projects.
Architecture firm SOM has designed Kinematic Sculpture, an origami-like pavilion installation for Chicago Design Week. Exploring kinematics as the science of motion, the sculpture was formed as one of the firm's ongoing interdisciplinary research projects. As a test in integrated design, the structure aims to establish ideas that foster new architectural and structural solutions for pressing challenges in the built environment.
Unlike most American cities, which spent the 20th century radiating out into suburbia, Los Angeles befuddles outsiders because it doesn’t really have a definite center. The phrase “LA” is loosely used to refer to a collection of small yet distinct cities across the Los Angeles basin that grew together over time. Traditionally, a handful of these localities have been the cultural centers and tourist destinations (Hollywood, Santa Monica, Beverly Hills, Silverlake, etc). While these districts thrived, “downtown” sat largely neglected; its financial towers and retail spaces had severe occupancy issues for much of the 90’s and 2000’s. Ten years ago, downtown street life outside of working hours was virtually nonexistent.
That fate was largely the result of poor urban planning. The tragic destruction of the vibrant Bunker Hill residential neighborhood in the 1960’s created a series of vacant freeway-flanked “superblocks” intended for ugly, efficient modernist towers - many of which never reached fruition. To this day, the area is still plagued with empty lots. Developers and architects have considered downtown as a risky return on investment ever since.
DTLA wasn’t just the butt end of jokes (Family Guy: “There’s nothing to do downtown!”) it was treated with disdain. Even Frank Gehry said on record that he wished the Walt Disney Concert Hall had been constructed 12 miles away in Westwood (near UCLA). He went on to add that he felt the current attempted revitalization of downtown was: “both anachronistic and premature.” Ouch.
If there's one word that sums up our most popular projects of 2015, it's "diversity." The list features architects ranging from old favorites such as SANAA, Diller Scofidio + Renfro and OMA down to newer names like Sculp[IT] and Tropical Space; it also includes everything from museums to multi-family housing and spa retreats to chapels - along with the usual smattering of private residences. Interestingly, this year's list also shows the symbiosis between great architecture and great photography, with no less than 4 projects also appearing in our most bookmarked images from this year's World Photo Day. But despite their diversity, there's one thing all of these 20 projects have in common: great architecture. So settle in, relax and read on - here's our 20 most popular projects of 2015.
https://www.archdaily.com/779474/the-20-most-popular-projects-of-2015AD Editorial Team
The past 12 months have given us plenty to talk about: 2015 saw the opening of several marquee new museums, and the field took an introspective turn with the “State of the Art of Architecture” at the Chicago Biennial. Now it’s December, and that means it’s time for many critics to look back at the triumphs and failures of the year past and make predictions for the year to come.
We’ve always been a profession of hackers. Every building is a one-off made up of countless elegant hacks, each bringing disparate materials and systems together into a cohesive whole. But when it comes to the software that designers have come to rely on, most of us have been content with enthusiastic consumerism, eagerly awaiting the next releases from software developers like Autodesk, McNeel (Rhino) and Bentley (MicroStation).
It’s been 5 years since we officially launched our research program at the Yazdani Studio of Cannon Design, and during that period we’ve come to understand the evolution of our process reflects the larger, changing relationship architects have with their means of production. Specifically, we've noticed that in late 2007 something changed. McNeel introduced a visual programming plugin called Grasshopper, and more and more architects began to hack their tools as well as their buildings.
In the mid-1980s, after literature had long been held hostage by postmodernist irony and cynicism, a new wave of authors called for an end to negativity, promoting a "new sincerity" for fiction. Gaining momentum into the 1990s, the movement reached a pinnacle in 1993 when, in his essay E Unibus Pluram: Television and U.S. Fiction, pop-culture seer David Foster Wallace, a proponent of this "new sincerity," made the following call to action: “The next real literary ‘rebels’ in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles... These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that’ll be the point. Maybe that’s why they’ll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the ‘Oh how banal.'"
Architecture, ever in debt to the styles and ideas of other art forms, could learn a thing or two now from the resuscitation of American fiction at the turn of the millennium. It too is enduring an identity crisis, mired by pessimism and uncertainty - a reality made painfully clear this past January when a New York Times Op-Ed by Steven Bingler and Martin C. Pedersen, How to Rebuild Architecture, divided camps and made the design world fume. In the editorial, the authors spoke vehemently of an architectural profession that has become mired by egos and been disconnected from public needs. Things quickly got ugly, critics wrestled with critics and subsequently the public got involved. What no one seemed to take into account is that this type of hounding is at the core of the problem. In its current landscape the discipline has struggled with its past, been deferential to its present, and wrestled with the uncertainty of its future. In a moment when we have become addicted to despondency, can anyone win?