BIG, in collaboration with BNIM and the University of Kansas School of Architecture & Design, has revealed a mass timber structure named the “Makers’ KUbe.” Designed for collaborative learning, the structure features a timber diagrid frame. The scheme was developed with students, faculty, and the university's board of directors to serve as a studio space and an educational showcase for sustainable practices.
The annual Coachella Valley Music and Arts Festival has opened in Los Angeles with a selection of large-scale art installations curated by the Public Art Company in collaboration with Paul Clemente. The festival grounds at the Empire Polo Field have been reimagined with three newly commissioned works by a diverse group of artists, architects, and designers. Challenging conventional norms and experimenting with new technologies and artistic expressions, these temporary interventions are an invitation for playful exploration, connection, and contemplation, enhancing the festivalgoer’s experience.
According to Raffi Lehrer, the founder of Public Art Company and Curatorial Advisor for Coachella's art program, the aim of these installations is not to simply adorn the festival but “to create environments that provoke thought, evoke emotion, and encourage a shared experience among all attendees.” By collaborating with artists from different fields, the music festival gains a new perspective, opening up its grounds for experimentation and play.
As construction materials costs increase, builders and developers are seeking alternatives to traditional home construction methods to address housing shortages. In response, an expanding construction technology field is the 3D printing sector. This technology promises quicker, cheaper construction and the potential to extrude local and recycled materials. However, due to the slow-changing nature of the construction industry, a radical shift involving large-scale 3D-printing machines on-site and a complete overhaul of the construction process seems unlikely shortly.
Prefabricated 3D printing modular housing offers a compelling solution, providing the benefits of 3D printing advancements while leveraging standard construction machinery and labor. In off-site 3D-printed construction, there is no need to transport massive 3D-printing machines on-site. Instead, components are printed in a controlled environment and then assembled on-site. These types of 3D-printed residential modular kits of parts are already being manufactured and are attracting significant investment.
Construction has just begun on the Tor Alva, or the White Tower, the world’s largest 3-D printed tower. Designed by architects Michael Hansmeyer and Benjamin Dillenburger and printed with concrete by the technology university ETH Zurich, 8 out of 32 structural columns have been completed. Nestled in the village of Mulegns in the Swiss Alps, the White Tower is designed as a venue for music and theater events. Standing at 30 meters, the design features 32 distinct Y-shaped columns, each boasting a pattern of textured details.
As an additive manufacturing method, 3D printing has been characterized by the construction of objects through the horizontal deposition of material, layer by layer. This still restricts, nonetheless, the manufacture of elements and limits the shape of early prototypes to within the range that allows the addition of material in a single direction, making it difficult to create complex shapes with smooth curves.
However, the team from the Chair of Digital Construction Technologies at ETH Zurich—integrating computational design, digital manufacturing, and new materials—has been exploring an innovative non-planar robotic additive manufacturing system. This method facilitates the printing of thin structures with double curvature, significantly expanding the possibilities of their application in architecture on a larger scale.
German-based architecture and design studio Beta Realities has developed the “Collective Parts” initiative, a design and technology platform for enabling the construction of affordable 3D printed housing. The project has been recognized as one of the winners of Inititative99 by ICON, a global architecture competition aimed at reimagining affordable housing that can be built for under $99,000. The other winners of the open category are MTspace Studio from New Zealand and For Everyday Life from the United Kingdom. The competition also highlights contributions from students as a separate category, featuring Casa Fami by IAAC from Spain, Juan Felipe Molano from Colombia, and Victoria Roznowski from Germany.
The Kingdom of Saudi Arabia is now home to the world’s first 3D-printed mosque, spanning an area of 5,600 sqm. Located within the Al-Jawhara suburb of Jeddah, the mosque stands as a tribute to the late equestrian Abdulaziz Abdullah Sharbatly. The project by Forsan Real Estate utilizes cutting-edge 3D printing technology from Guanli.
Pioneering advanced construction and large-scale 3D Printing, ICON was selected as ArchDaily’s Best New Practices of 2021 due to its boundary-breaking technology that is advancing capability in the built environment. The Texas-based startup has just unveiled various toolkits and products to modernize construction processes further. Dubbed “Domus Ex Machina,” the event showcased a range of innovations, such as an AI Architect created for home design and construction, a digital library containing over 60 pre-designed home plans, a new eco-friendly building material, and a robotic printed facilitating multi-story construction. Together, these developments aim to offer a quicker, more environmentally friendly way to build high-quality, affordable housing globally.
This article was originally published on Common Edge.
Even within the world of design media, it was easy to miss the news: In late January, Notre Dame’s School of Architecture announced that Peter Pennoyer, a New York–based architect and author, had won the 2024 Richard H. Driehaus Prize. The Driehaus is architecture’s traditional/classical design version of the Pritzker Prize. Although it comes with a hefty $200,000 check—twice the size of the Pritzker’s honorarium—and previous winners include such luminaries as Robert A.M. Stern, Michael Graves, Leon Kier, and Andrés Duany and Elizabeth Plater-Zyberk, the award still exists in a sort of media vacuum.
Architecture, understood as a cultural product, is strongly influenced by diverse stimuli that include historical, geographical, and cultural aspects, among others. Together, these elements form a heritage that may (or may not) endure through time. Although architecture tends to adapt to each culture, modeling its traditional techniques according to its context and shaping the surrounding environment, there is no guarantee that the traditional elements in it will endure or remain unchanged over time. This is largely due to the constant evolution of society and technology, which sometimes tends towards universality and the adoption of a common language, rather than one of their own.
Given this scenario, it is essential to explore an approach where innovation and technology do not replace tradition and artisanal production; instead, they arise as a means of exploration towards emerging routes. Adopting novel techniques and innovative materials that are adapted to specific local needs makes it possible to maintain an authentic expression that responds to the demands of the environment. This approach, which could be termed neo-craft, allows for the preservation of a distinct voice that reflects the authenticity of the local context. At the same time, it contributes to a universal perspective, merging the local with the global.
Zaha Hadid Architects have released images of their design for the world’s first hydrogen refueling infrastructure for recreational boating. Continuing ZHA’s experience in maritime designs, the stations are to be installed in 25 Italian marinas and ports. Launched by NatPower H, the stations will begin to be implemented in the summer of 2024, with plans to expand to over 100 locations throughout the Mediterranean Sea in the next six years.
In architectural design, our interactions with non-human organisms have predominantly involved creating barriers to exclude them from the human realm. What if we were to adopt a different approach? Interspecies design is a movement that puts non-human organisms—fungi, insects, and various animals—on an equal footing with humans. This design philosophy provides frameworks that foster non-hierarchical relationships with other species. By doing so, it cultivates empathy for other life forms and shifts our perspective on the world around us. It aims not only for a net-zero approach but also seeks collaboration with non-human organisms to develop environments beneficial to all. Below, explore some emerging material technologies designed to benefit both humans and other life forms.
Advancements in 3D printing technology are progressing at an unprecedented pace, accompanied by a parallel surge in computational power for manipulating and creating intricate geometries. This synergy has the potential to offer architects an unprecedented level of artistic freedom in regards to the complex textures they can generate, thanks to the technology's remarkable high resolution and rapid manufacturing capabilities. If the question of production was out of the way, and architects could now sculpt virtually anything into a facade effectively and efficiently, what would they sculpt?
3D printing holds vast potential due to its ease of large-quantity manufacturing, its flexibility in terms of material exploration, and its ability to materialize all kinds of geometries. This year, architects and designers have looked at 3D printing technology to decarbonize construction materials, integrate contemporary aesthetics with traditional construction methods, and add a layer of craft and artistry to interiors and facades.
Innovative materials play a crucial role in shaping the future of architecture. They offer not only novel ways to craft buildings but also sustainable and efficient solutions to address pressing environmental challenges. Architects and designers are now more than ever exploring and integrating innovative materials into their projects. By harnessing the unique properties of these materials, they create structures with new visual languages while also being environmentally friendly.
As part of our year-in-review, we reflect on the innovative materials that were featured. These materials delved into the concepts of recycling agro-waste, adapting bio-based products, transforming local materials, and decarbonizing concrete. The objective was not only to offer alternatives to traditional construction practices but also to help reduce carbon emissions and promote a more sustainable built environment. In this dynamic field, these materials demonstrate the potential to revolutionize building design and construction in diverse contexts, paving the way for a more sustainable and resilient future.
The architecture and construction industry has undergone a transformation with the integration of various digital tools, now indispensable to the design process. The welcoming of technologies has effectively streamlined operations, enhanced efficiency, and elevated design quality. This digital shift, however, has resulted in a digital divide that goes beyond accessibility to tools and software. It also encompasses the crucial aspect of integrating traditional and indigenous communities into the urban development landscape. Can advancing technology support the growth of vernacular architecture? Can indigenous building practices find a place in the vision for a digitalized future?
While it is undeniable that the surrounding environment is changing due to human activity, the effects can be difficult to perceive directly, as they are often illustrated with unrelatable pictures of far-away places or overused graphics and statistics. Danish office Tideland Studio aims to change this. Through their work, they aim to bring forth a new type of sensible understanding of the changes happening around us. They work across disciplines, melding research, art, and architecture while employing the newest survey and fabrication technologies to give presence to the abstract phenomena that shape our planet. Because of their practical approach to research and the new perspectives that they open toward extreme environments affected by climate change, ArchDaily has selected Tideland Studio as one of the 2023 New Practices. The annual survey highlights emerging offices that use innovation and forward-looking processes to rethink the ways in which we practice architecture.
For many years, often spoken in tones of anticipation and excitement, we have heard that 3D printing will revolutionize the architecture industry as we know it. But if we stop for a moment, reflect on the present and look back at the past, it becomes evident that the technology has long been reshaping the field, continuously undergoing profound transformations and ushering in new eras of design, construction and spatial creativity. Operating as a layer-by-layer additive manufacturing process, 3D printing uses digital models to create customized three-dimensional objects with a remarkable level of precision and efficiency, saving time, generating zero waste, reducing labor costs and opening avenues for rapid prototyping and iterative design. It enables architects to explore creative opportunities and regain autonomy by designing complex, non-standardized elements within an industrial and mass-customized process.
