Bringing Architecture, Design and Art to your Dash.
Playful Duo Captures the Fun and Joy of Interacting With Architecture
Creative duo Daniel Rueda and Anna Devís find wonder in seemingly ordinary places. As two former architects, they incorporate elements of buildings into their whimsical compositions in which a model (often Devís) is perfectly coordinated with different facades or blends into the scenery.
Colouring-in Movie Posters!
Jordan Bolton has made colouring-in versions of their Wes Anderson & Studio Ghibli object posters.
They are free to download at the link below for anyone to print off and colour-in at home.
Please share with anyone you think would be interested!
The Nickelodeon, Covehithe 2009 by James Alder
Arata Isozaki’s Palladium Nightclub Through the Lens of Timothy Hursley
In May 1985, an old theater and concert hall opened its doors to the public for the opening of a brand new nightclub in New York City. Located on 126 East 14th Street, the project was commissioned by entrepreneurs Steve Rubell and Ian Schrager, owners of the also famous club Studio 54, and was conceived as a vibrant and luminous independent structure arranged inside a rather classic shell, which appears as a beautiful backdrop behind the clean geometry of Isozaki.
PS I spent so many great nights at the Palladium in the late 80s/early 90s. These pics brought back those memories with a vengeance!
Castles Across Europe, Reconstructed
The built landscape of Europe has been sculpted by thousands of years of war and reconciliation. Kings and Queens, Vikings and Romans, Christians and Moors, all have built castles and forts with the strength of their workers’ hands. But over the centuries, many of these magnificent castles have fallen into ruin. Some were abandoned after suffering war damage, while others just fell out of use.
Here are some of the most unique ruined castles of Europe and, working with designers and architects, a series of architectural renders and reconstruction animations that bring them back to their former glory.
Tape As Pandemic Architectural Element
In Singapore, tape is being used as a sort of architectural element to denote closure of public spaces and promote & enforce proper social distancing practices. The @tape_measures account on Instagram is documenting instances of this practice around the city.
It’s too early to be making nuanced arguments about the future, as we face down what is undoubtedly going to be a much more serious situation in the second half of 2020. So, here are ten first thoughts about how our profession may be impacted, and potentially transformed, as a result. Choose two or three as prompts to consider the future once the crisis has passed.
1. Economics: While there are mixed reports of how hard a recession might hit the industry, it’s already clear that certain building types, particularly retail and commercial office, will fall off the profession’s radar for several years while overall the AEC sector contracts across the board. Another wave of fierce fee competition, as surviving firms fight for contracts, will ensue. Can some firms fight above the fray?
2. Demographics: If the downturn lasts more than a year, another “lost generation” of students, taking their considerable design and thinking talents into an environment that values “design thinking,” will leave the profession never to return. If the 2008 recession eliminated some of the older Baby Boomers who were unable to grasp technology and keep their firms alive, the last of the Boomers may find themselves with the same fate. But with retirement portfolios largely destroyed, will there be hangers-on?
3. Jobs: New jobs, not many. Firms will trim their excesses and dead weight, and may do some strategic replacement, meaning when the upturn comes there’s a shortage of talent, as firms don’t have the reserves to keep staff despite the very high costs of replacement. Will the talent be there to be hired? Remote work may be a desirable option to improve work-life balance.
4. Technology: The last recession saw the profession’s transition from CAD to BIM. Eleven years later there is a much larger array of tools available: big data, analytics, reality capture, computational design, machine learning (to name a few) and lots of “BuildTech” development. Some practices will embrace these tools to redefine their capabilities; others, like many in 2008, will use new technologies (like BIM) toward very old ends (making better drawings).
5. Practice methods: As the entirety of practice has demonstrated an ability to work digitally and remotely, talent networks for firms will widen beyond locale, and intensified data-based processes and deliverable will (for firms willing to experiment further) open opportunities to create new value through digital service like analytics, digital fabrication, and augmented reality/experience.
6. Practice structure: Most practices moved their work seamlessly out of the office and to their respective homes, showing that a physical office may not be essential to running a firm. A new generation of younger, digitally-facile practices, with workers and talent distributed globally, will emerge to compete with traditional incumbents. They’ll be lithe, flexible, less subject to economic dynamics, and won’t know each other as well. The design version of the “gig” economy may emerge, focused less on full projects, and more on discrete tasks.
7. Construction: Between health concerns, immigration, supply stream instability and pricing pressures, builders will turn strongly to automation on the site and prefabrication off it. The necessary tools and processes require digital infrastructure unsuited to traditional drawing and builders will find it, either from their architects or elsewhere. Government funding of projects may drive digital protocols as a requirement, and the industry would be forced toward standards, finally, as a result.
8. Talent: “Survival of the fittest” suggests that some of the best firms of this decade will emerge from the crucible of the crisis, and today’s students will watch carefully from the academic sidelines, preparing themselves for the new realities of the recovery and demanding from their educators what they think is important to prepare them for the workplace. The survivors will define that talent agenda, which is likely to be a heady mix of technological prowess, ability to collaborate directly and remotely, and flexible work style and technique.
9. Space: Some of the ineffable priorities of design will give way to more epidemiological considerations: how does this space perform in a pandemic? Are occupants more or less healthy? Can it be cleaned? Can it perform, technically, spatially, and aesthetically under new rules of interaction and social distance?
10. The City: Cities have been hardest by COVID-19, calling into question the challenges of proximity and density. If social distancing and “home stay” are regular strategies to manage pandemic, the changing nature of urban space—and the potential revival of the more spacious suburbs—are opportunities for architects to rethink and redefine fundamentals of living.
There’s little doubt the post-COVID-19 world will look different—politically, economically and architecturally—than it looked in February. The duration and depth of the downturn will determine the potency of the ideas suggested above. Firm leaders are best prepared when they spend some of their current efforts managing through turbulent times toward that future, whatever it might be.
Musée Atelier Audemars Piguet
Musée Atelier Audemars Piguet is a spiral-shaped building rising up out of the landscape of Vallée de Joux in Switzerland designed by BIG for the watchmaker to house its collection of timepieces.
The curved glass walls and the green roof of the BIG-designed pavilion sit next to the original Audemars Piguet workshop, which was set up in 1875.
This historic building has been restored by Swiss architecture office CCHE and connected to the new museum, which was also realised by the studio.
Onagawan Hinterland, Japan 2016 by James Alder
London Lowline: Gates to different Worlds, Competition Entry by Gkoliomyti Anastasia and Panayotis Varoutsos
“COVID-19 has been a magnifying glass on the weaknesses in our systems,” said Kimberly Dowdell, principal at HOK and president of the National Organization for Minority Architects (NOMA). Though racialized housing disparities are nothing new, the stark death toll of the pandemic is harshly illustrating those disparities’ effects.
Can You Identify These 12 Iconic Buildings Solely From Their Sections?
This particular form of architectural representation is hard to beat when it comes to understanding a building through visual means: Concepts relating to formal qualities, spatial rationale and programmatic principles can all be displayed with great clarity with the aid of a detailed slice through a structure.
Follow the source link to find out how many buildings can you identify from a single section!
Stairway House nendo
A two-family home in a quiet residential area of Tokyo. With other houses and apartment buildings pressing around the site, the architectural volume was pushed to the north to take in daylight, ventilation, and greenery of the yard into the living environment by a large glass front southern façade.
The layout plan made it possible to preserve the existing persimmon tree beloved by the previous generations. Considering the potential difficulties of going up and down the stairs, the rooms for the older couple were arranged on the 1st floor. The eight cats living with the older couple roam in and outdoors more freely, and encourages the mother to enjoy her hobby of gardening more freely.
The younger couple and their child reside on the 2nd and 3rd floors. To avoid the two households being completely separated at the top and bottom, a “stairway-like” structure was designed in the south yard, continuing upward into the building and penetrating the 1st through 3rd floors.
For Westworld Season 3, Los Angeles of 2058 Was Built With Input From Bjarke Ingels
“It’s not dystopian,” Howard Cummings, the Emmy award–winning production designer of the series, tells Architectural Digest. Instead of Blade Runner, Cummings created a future with less traffic, more greenery, and one that is generally clean and orderly.
“We wanted this to be a grounded futurism,” he continues. The buildings are a mix of new and old, making it feel welcoming. As Cummings explains, “It’s what you would hope things would be, except that eventually you find out that it might just be on the surface.”
by Michael Sorkin
1. The feel of cool
marble under bare feet.
2. How to live in a small room with five strangers for six months.
3. With the same strangers in a lifeboat for one week.
4. The modulus of rupture.
5. The distance a shout carries in the city.
6. The distance of a whisper.
7. Everything possible about Hatshepsut’s temple (try not to see it as ‘modernist’ avant la lettre).
8. The number of people with rent subsidies in New
9. In your town (include the rich).
10. The flowering season for azaleas.
11. The insulating properties of glass.
12. The history of its production and use.
13. And of its meaning.
14. How to lay bricks.
15. What Victor Hugo really meant by ‘this will kill that.’
16. The rate at which the seas are rising.
17. Building information modeling (BIM).
18. How to unclog a Rapidograph.
19. The Gini coefficient.
20. A comfortable tread-to-riser ratio for a six-year-old.
21. In a wheelchair.
22. The energy embodied in aluminum.
23. How to turn a corner.
24. How to design a corner.
25. How to sit in a corner.
26. How Antoni Gaudí modeled the Sagrada Família and calculated its structure.
27. The proportioning system for the Villa Rotonda.
28. The rate at which that carpet you specified off-gasses.
29. The relevant sections of the Code of Hammurabi.
30. The migratory patterns of warblers and other seasonal travellers.
31. The basics of mud construction.
32. The direction of prevailing winds.
33. Hydrology is destiny.
34. Jane Jacobs in and out.
35. Something about feng shui.
36. Something about Vastu Shilpa.
37. Elementary ergonomics.
38. The color wheel.
39. What the client wants.
40. What the client thinks it wants.
41. What the client needs.
42. What the client can afford.
43. What the planet can afford.
44. The theoretical bases for modernity and a great deal about its factions and inflections.
45. What post-Fordism means for the mode of production of building.
46. Another language.
47. What the brick really wants.
48. The difference between Winchester Cathedral and a bicycle shed.
49. What went wrong in Fatehpur Sikri.
50. What went wrong in Pruitt-Igoe.
51. What went wrong with the Tacoma Narrows Bridge.
52. Where the CCTV cameras are.
53. Why Mies really left Germany.
54. How people lived in Çatal Hüyük.
55. The structural properties of tufa.
56. How to calculate the dimensions of brise-soleil.
57. The kilowatt costs of photovoltaic cells.
59. Walter Benjamin.
60. Marshall Berman.
61. The secrets of the success of Robert Moses.
62. How the dome on the Duomo in Florence was built.
63. The reciprocal influences of Chinese and Japanese
64. The cycle of the Ise Shrine.
66. The history of Soweto.
67. What it’s like to walk down the Ramblas.
69. The proper proportions of a gin martini.
70. Shear and moment.
71. Shakespeare, et cetera.
72. How the crow flies.
73. The difference between a ghetto and a neighborhood.
74. How the pyramids were built.
76. The pleasures of the suburbs.
77. The horrors.
78. The quality of light passing through ice.
79. The meaninglessness of borders.
80. The reasons for their tenacity.
81. The creativity of the ecotone.
82. The need for freaks.
83. Accidents must happen.
84. It is possible to begin designing anywhere.
85. The smell of concrete after rain.
86. The angle of the sun at the equinox.
87. How to ride a bicycle.
88. The depth of the aquifer beneath you.
89. The slope of a handicapped ramp.
90. The wages of construction workers.
91. Perspective by hand.
92. Sentence structure.
93. The pleasure of a spritz at sunset at a table by the Grand Canal.
94. The thrill of the ride.
95. Where materials come from.
96. How to get lost.
97. The pattern of artificial light at night, seen from space.
98. What human differences are defensible in practice.
99. Creation is a patient search.
100. The debate between Otto Wagner and Camillo Sitte.
101. The reasons for the split between architecture and engineering.
102. Many ideas about what constitutes utopia.
103. The social and formal organization of the villages of the Dogon.
104. Brutalism, Bowellism, and the Baroque.
105. How to dérive.
106. Woodshop safety.
107. A great deal about the Gothic.
108. The architectural impact of colonialism on the cities of North Africa.
109. A distaste for imperialism.
110. The history of Beijing.
111. Dutch domestic architecture in the 17th century.
112. Aristotle’s Politics.
113. His Poetics.
114. The basics of wattle and daub.
115. The origins of the balloon frame.
116. The rate at which copper acquires its patina.
117. The levels of particulates in the air of Tianjin.
118. The capacity of white pine trees to sequester carbon.
119. Where else to sink it.
120. The fire code.
121. The seismic code.
122. The health code.
123. The Romantics, throughout the arts and philosophy.
124. How to listen closely.
125. That there is a big danger in working in a single medium. The logjam you don’t even know you’re stuck in will be broken by a shift in representation.
126. The exquisite corpse.
127. Scissors, stone, paper.
128. Good Bordeaux.
129. Good beer.
130. How to escape a maze.
133. Finding your way around Prague, Fez, Shanghai, Johannesburg, Kyoto, Rio, Mexico, Solo, Benares, Bangkok, Leningrad, Isfahan.
134. The proper way to behave with interns.
135. Maya, Revit, Catia, whatever.
136. The history of big machines, including those that can fly.
137. How to calculate ecological footprints.
138. Three good lunch spots within walking distance.
139. The value of human life.
140. Who pays.
141. Who profits.
142. The Venturi effect.
143. How people pee.
144. What to refuse to do, even for the money.
145. The fine print in the contract.
146. A smattering of naval architecture.
147. The idea of too far.
148. The idea of too close.
149. Burial practices in a wide range of cultures.
150. The density needed to support a pharmacy.
151. The density needed to support a subway.
152. The effect of the design of your city on food miles for fresh produce.
153. Lewis Mumford and Patrick Geddes.
154. Capability Brown, André Le Nôtre, Frederick Law Olmsted, Muso Soseki, Ji Cheng, and Roberto Burle Marx.
155. Constructivism, in and out.
157. Squatter settlements via visits and conversations with residents.
158. The history and techniques of architectural representation across cultures.
159. Several other artistic media.
160. A bit of chemistry and physics.
165. The Law of the Andes.
166. Cappadocia first-hand.
167. The importance of the Amazon.
168. How to patch leaks.
169. What makes you happy.
170. The components of a comfortable environment for sleep.
171. The view from the Acropolis.
172. The way to Santa Fe.
173. The Seven Wonders of the Ancient World.
174. Where to eat in Brooklyn.
175. Half as much as a London cabbie.
176. The Nolli Plan.
177. The Cerdà Plan.
178. The Haussmann Plan.
179. Slope analysis.
180. Darkroom procedures and Photoshop.
181. Dawn breaking after a bender.
182. Styles of genealogy and taxonomy.
183. Betty Friedan.
184. Guy Debord.
185. Ant Farm.
187. Club Med.
188. Crepuscule in Dharamshala.
189. Solid geometry.
190. Strengths of materials (if only intuitively).
191. Ha Long Bay.
192. What’s been accomplished in Medellín.
193. In Rio.
194. In Calcutta.
195. In Curitiba.
196. In Mumbai.
197. Who practices? (It is your duty to secure this space for all who want to.)
198. Why you think architecture does any good.
199. The depreciation cycle.
200. What rusts.
201. Good model-making techniques in wood and cardboard.
202. How to play a musical instrument.
203. Which way the wind blows.
204. The acoustical properties of trees and shrubs.
205. How to guard a house from floods.
206. The connection between the Suprematists and Zaha.
207. The connection between Oscar Niemeyer and Zaha.
208. Where north (or south) is.
209. How to give directions, efficiently and courteously.
210. Stadtluft macht frei.
211. Underneath the pavement the beach.
212. Underneath the beach the pavement.
213. The germ theory of disease.
214. The importance of vitamin D.
215. How close is too close.
216. The capacity of a bioswale to recharge the aquifer.
217. The draught of ferries.
218. Bicycle safety and etiquette.
219. The difference between gabions and riprap.
220. The acoustic performance of Boston Symphony Hall.
221. How to open the window.
222. The diameter of the earth.
223. The number of gallons of water used in a shower.
224. The distance at which you can recognize faces.
225. How and when to bribe public officials (for the greater good).
226. Concrete finishes.
227. Brick bonds.
228. The Housing Question by Friedrich Engels.
229. The prismatic charms of Greek island towns.
230. The energy potential of the wind.
231. The cooling potential of the wind, including the use of chimneys and the stack effect.
233. Straw-bale building technology.
234. Rachel Carson.
236. The excellence of Michel de Klerk.
237. Of Alvar Aalto.
238. Of Lina Bo Bardi.
239. The non-pharmacological components of a good club.
240. Mesa Verde National Park.
241. Chichen Itza.
242. Your neighbors.
243. The dimensions and proper orientation of sports fields.
244. The remediation capacity of wetlands.
245. The capacity of wetlands to attenuate storm surges.
246. How to cut a truly elegant section.
247. The depths of desire.
248. The heights of folly.
249. Low tide.
250. The Golden and other ratios.
Masked George Washington
Capitalising on these vistas was a guiding factor for Seattle firm Olson Kundig, which sought to eliminate boundaries “between inside and outside as much as possible”.
The Boston Globe reports that in 1969 McKinnell, describing his vision for the city hall building, told a reporter, “This isn’t a building where the pattern is frozen, where if you move one detail, you ruin everything,” adding, "The process of democratic government is the meaning of City Hall. It should never be finished.”