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Updated: 1 hour 28 min ago

Art That Breathes: 17 Living Creations Made with Plants, Bacteria & Insects

25 April, 2018 - 19:05
[ By SA Rogers in Art & Installation & Sound. ]

Alternately beautiful and disgusting but nearly always fascinating, works of art that use nature in place of more traditional media raise questions about the power and responsibility of human dominance over our natural surroundings and the other species living on Earth. These living, breathing works of art might be innocently pretty, like modified flower petals or arrangements of colorful mushrooms, or they might feel a little more sinister, making controversial use of living mice, insects or bacteria swabbed from human orifices.

What’s your take on the use of living things as art? Do you believe the message justifies its potential death, even if it’s a bonsai tree or an ant?

Philodendron Xanad by Ruben Bellinkx

The lush green leaves of a living philodendron plant seem to have pierced right through a wall in a confounding installation by Belgium-based artist Ruben Bellinkx. The leaves, as you can see, are much too large and seemingly undamaged to have been forced through small holes in the walls – so how’d he do it? Quite simply, the artist rebuilt that section of the wall from scratch, cutting careful slits following the contours of the leaves with a jigsaw.

Jeweled Larval Cocoons by Hubert Duprat

When placed in an aquarium with nothing but gold, turquoise and pearls to make their cocoons from, caddisfly larvae will build themselves jeweled enclosures that end up looking like tiny sculptural treasures when they’re done. Artist Hubert Duprat ‘collaborated’ with the Trichopteres larva to produce the final results, which are held together with silk excreted from their salivary glands. The larvae spend a few weeks inside these jeweled cocoons before emerging as mature flies.

The Life and Death of Botanicals: 6 Works by Azuma Makoto

Artist Azuma Makoto is known for incorporating live and cut flowers, vines, bonsai trees and even full-scale palm trees into his botanical works of art, often contrasting themes of vitality and decay. For an exhibit entitled ‘Drop Time’ at the Mass Gallery in Tokyo, Makoto created beautiful bouquets and placed them inside acrylic boxes so their slow decay could be observed through all its stages. Another floral exhibit, ‘Iced Flowers,’ temporarily preserved bouquets inside blocks of ice.

For ‘Sephirothic Flower,’ Makoto took lush floral arrangements deep beneath the surface of the sea and photographed them in the dark waters, capturing their interactions with sea creatures like eels.

Makoto has even launched plants into space. ‘EXOBIOTANICA 2’ saw bouquets lifted beyond the Earth’s atmosphere using weather balloons, and the original EXOBIOTANICA did the same with a Japanese white pine bonsai inside a carbon fiber frame.

Somehow, the artist’s installation of a living bonsai inside an abandoned power plant feels just as momentous as those outer space shots, embodying a hopeful message about life springing eternal.

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[ By SA Rogers in Art & Installation & Sound. ]

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Curious Minds

25 April, 2018 - 18:12
Seeing this photos of MUMA Architects' community center in Cambridge, England, via today's Dezeen Daily...

[Photo: Alan Williams]

...I couldn't help think of this photo of Antoine Predock's Ventana Vista Elementary School in Tucson, Arizona:

[Photo: Timothy Hursley (I think)]

Uniting the two are the small, low apertures that enable children to peer through them, instances captured by both photographers. With that, I decided to look around for similar images, finding the ones below. My point here is that it behooves architects designing early education buildings to cater apertures to curious minds, not just furniture and fixtures. These examples show that many architects are already doing just that.

New Building for Nursery and Kindergarten in Zaldibar by Hiribarren-Gonzalez + Estudio Urgari:

[Photo: Egoin]

El Guadual Children Center by Daniel Joseph Feldman Mowerman and Iván Dario Quiñones Sanchez:

[Photo: Ivan Dario Quiñones Sanchez]

Guardería de Vélez-Rubio by LosdelDesierto:

[Photo: Jesús Granda]

Rolling Out the Green Carpet: Grass Circle Transforms Madrid Public Square

24 April, 2018 - 19:00
[ By WebUrbanist in Art & Installation & Sound. ]

Marking the 400th anniversary of the Plaza Mayor in Madrid, a grassy circle measuring over 35,000 square feet was rolled out to create seating space for over 100,000 visitors across a four-day celebration.

The famous European square is framed by historic rectilinear architecture, beautiful in itself, but by adding a fresh layer of greenery, artist SpY provided space for locals and tourists to relax and mingle.

From above, the green dot stands out against its reddish surroundings, while, on the ground, it becomes not just a frame for interaction but also a point of conversation about local history.

Like much of SpY’s work, the project is made to be both interactive but also evocative, spreading naturally on social media and sparking conversations both on-site and abroad, leaving a lasting impression both online and in person.

And that function for which it was designed proved not just theoretical — as images of the actual four-day installation show, people gravitated naturally toward the grass, walking across and sitting down in groups on it.

Meanwhile, given the positive reaction to this piece, there is a rumor that the green circle might be rolled out again in Paris or some other European location.

The project also brings to mind another piece done by SpY years ago — a green circle on a building facade, created by cutting away vines.

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[ By WebUrbanist in Art & Installation & Sound. ]

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How To Make Calculations for Staircase Designs

23 April, 2018 - 10:00
© José Tomás Franco © José Tomás Franco

This question can be basic and you may know the answer, but it's always good to remember some elementary calculations that help us to streamline the design process.

As we know, a staircase consists basically of a series of steps, which in turn consist of a tread (the horizontal part, where the foot will rest) and a riser (the vertical part). Although it can vary in its design, each step must also have one or more landings, handrails, and a small nosing. The latter protrudes from the tread over the lower step, allowing to increase its size without adding centimeters to the overall dimensions of the staircase.

Check the effective formula developed by French architect François Blondel, which allows you to determine the correct dimensions of a comfortable and efficient staircase according to its use.

© José Tomás Franco © José Tomás Franco

2 Risers + 1 Tread = 63-65 cm 

The necessary space to reach these optimal dimensions is not always available, but it's recommended to approach them as much as possible.

A schematic example of a steep and low-transit staircase

(2 x 21) + (1 x 21) = 63 cm  

21x21 cm / Schematic example. Image © José Tomás Franco 21x21 cm / Schematic example. Image © José Tomás Franco

A schematic example of an optimal staircase

(2 x 18) + (1 x 28) = 64 cm

28x18 cm / Schematic example. Image © José Tomás Franco 28x18 cm / Schematic example. Image © José Tomás Franco

A schematic example of a loose staircase, preferably for outdoor use

(2 x 13) + (1 x 39) = 65 cm

39x13 cm / Schematic example. Image © José Tomás Franco 39x13 cm / Schematic example. Image © José Tomás Franco

Sample calculation of a staircase that should be 2.60 meters high 

1. Calculate the number of steps that will be needed

Considering an ideal riser of 18 cm, the height of the space is divided by the height of each step. The result should always be rounded up:

260/18 = 14.44 = 15 steps

2. Calculate the height of each riser

The height of the space is divided by the number of steps that we have just obtained:

260/15 = 17.33 cm height for each riser

3. Calculate the width of the tread

Apply the Blondel formula:

(2 x 17.33 cm) + (1 x tread) = 64 

Each tread will measure 29.34 cm

* The resulting staircase will have 15 steps of 29.34 cm of tread and 17.33 cm of riser

Schematic example. Image © José Tomás Franco Schematic example. Image © José Tomás Franco

FAQ

How to determine the width of the stairs?

Depending on the use and local regulations, a minimum width of 80 cm is recommended for stairs in single-family homes, and greater than 1.00 meters in public buildings, taking into consideration the tentative number of people who will use it. As a reference, according to the traditional book 'Architects' Data' by Ernst Neufert, in a staircase of 1.25 meters two people can go up and down at once, and in one of 1.85 meters 3 people can do it at the same time, with one appropriate distance of 55 cm between the person and the handrail.

After how many steps should a landing be included?

Ideally, a stairway shouldn't have more than 15 steps in a row. After 15 steps, a landing should be provided. It's recommended that a landing measure at least the same as 3 treads.

What is the ideal height between the staircase and the ceiling?

The height between the steps and the ceiling must be 2.15 meters at minimum. According to Ernst Neufert, you can reach a minimum of 2.00 meters. The height of the handrail can vary between 80 and 90 cm from each step.

How do I vary the proportions between the tread and the riser?

Stairs can take a variety of shapes and configurations, but the relationship between the tread and the riser must remain the same throughout its route to avoid causing imbalance to the user, who is already used to climbing or descending stairs in a certain way.

Explore These Architecturally Innovative Bookcases

23 April, 2018 - 08:00
© Ossip van Duivenbode © Ossip van Duivenbode

At first, books were kept in chests but as they became published in bulk they moved into the cupboard. The doors came off and the bookcase began to evolve. Today, bookcases can be integral architectural elements that shape space and, in some cases, even light. In celebration of International Day of the Book on April 23rd, ArchDaily compiled this round-up of architecturally, innovative bookcases.

Scroll down to see inventive architectural book storage from Alberto KalachARCHSTUDIOToyo Ito, and more. 

Jose Vasconcelos  Library / Alberto Kalach

Courtesy of Alberto Kalach Courtesy of Alberto Kalach

Tianjin Binhai Library / MVRDV + Tianjin Urban Planning and Design Institute

© Ossip van Duivenbode © Ossip van Duivenbode

Underground Forest in Onepark Gubei / Wutopia Lab

© CreatAR - AI Qing & SHI Kaicheng © CreatAR - AI Qing & SHI Kaicheng

Beyazıt State Library / Tabanlioglu Architects

© Emre Dörter © Emre Dörter

Tama Art University Library / Toyo Ito & Associates

© Iwan Baan © Iwan Baan

Bookshelf House / Shinsuke Fujii Architects

© Tsukui Teruaki © Tsukui Teruaki

Altlife Bookstore in Ningbo / Kokaistudios

© Dirk Weiblen © Dirk Weiblen

Tongling New Library / yue-design

Courtesy of yue-design Courtesy of yue-design

Rong Bao Zhai Coffee Bookstore / ARCHSTUDIO

© WANG Ning archstudio coffee © WANG Ning archstudio coffee

CREC Sales Pavilion & Library / Van Wang Architects

Courtesy of Van Wang Architects Courtesy of Van Wang Architects

Conarte Bookstore / Anagrama

© Estudio Tampiquito © Estudio Tampiquito

Haitang Villa / ARCHSTUDIO

© Magic Penny archstudio © Magic Penny archstudio

The City of the Books and the Images / Taller 6A

© Jaime Navarro © Jaime Navarro

Story Pod / Atelier Kastelic Buffey

© Shai Gil © Shai Gil

Eaves House / mA-style architects

© Kai Nakamura © Kai Nakamura

Enclave Book Pavilion / Aether Architects

© Zhang Chao © Zhang Chao

Memories from Architecture Studio

23 April, 2018 - 07:01

Does anybody remember “mixtapes”? For those of you born after 1995, mixtapes were traditionally self-assembled arrangements of songs onto cassette tapes. I had hundreds of them and armed with my Sony Walkman, I would sit and work at my drafting table for hours on end. In this regard, I was not unique – everybody in studio had music playing in one form or another.

Instagram Photo

When I was in college, mixtapes played a role in my daily life up at studio – I listened to them constantly and for hours on end. I suppose I technically still have my mix tapes except now they are simply called “playlists” and with the availability of digital music, the feeling of listening to your favorite songs just isn’t as thrilling as it used to be. Yes, I am aware that I am currently suffering from good ol’ days syndrome, but I did just turn 50 and along with my AARP membership, I am entitled to certain privileges.

As the end of the collegiate school year approaches, semester-long studio projects and end-of-the-year studio jury’s have been taking place. Luckily, I still get to participate in these as a guest juror and I have found myself back in the architecture studio feeling a little melancholy for my youth … and my mixtapes.

Instagram Photo

Last week I took part in a panel discussion at the University of Texas at Arlington where I presented my American Institute of Architects Fellowship application … but of course, since I am me, I didn’t do what anybody else did (maybe there were instructions …). Four of the Five panelists ran through their applications before an audience mostly made up of current architecture students. Considering that the application process is extremely formulaic, I chose to ignore 75% of my submittal and just focus on a handful of pages within my application, while talking about how this process will most likely be unrecognizable by the time the 20-somethings sitting in the audience have their turn to apply for Fellowship.

Bob Borson and Texas Society of Architects 2018 President Mike McGlone

I have also been taking part in a handful of architecture school jury panels lately. These are typically a lot of fun, despite the bumps along the way (for the students, not me) and I think spending some time in a college studio is good for me. I am reminded of how important first impressions are and how no amount of talking can make up for a lack of work. Not too unlike my time in college, you can pretty much tell a lot about a student just by looking at what they pin up on the wall, coupled with how they choose to explain their work (or lack thereof). It reminds me that architecture students at this stage can pretty much be categorized into one of the following categories:

  • Good Idea and Good Drawings
  • Bad Idea and Good Drawings
  • Good Idea and Bad Drawings
  • Bad Idea and Bad Drawings

Everyone can tell which student falls into which category … and that includes the student. Regardless of age or experience, people have a pretty solid understanding of when they have done the work and whether or not they have a good idea. As a juror sitting in on these presentations, the interesting part comes when someone tries to talk their way around the evidence that is currently pinned up on the wall.  It is pretty typical that every class will have about 10% in the first category, 10% in the last category, and the rest falling somewhere in between.

I will confess that I fell into the bottom 10% the first year I was in architecture school – a painful introduction for me into an environment where I learned that no amount of smooth talking was going to keep me from having “my work” ridiculed. It was actually so bad that I ended up taking a year off from studio (not college) to figure out if this was something I was supposed to be doing. (For the full story, check out: The College Years). When I finally figured things out, I moved through the ranks and I’d like to think I made my way to the top. I am a little vain as a designer but not oblivious to the fact that I recognize that there were one or two other classmates of mine that have turned out to be the proverbial rockstar designer.

Thinking about how things were is typically not a productive use of one’s time – and I rarely advocate someone spending the time to look backward instead of focusing all their attention on what lies ahead. About the only time I think reminiscing is a productive use of your time, is when it is used as fuel to focus your efforts and hone your attention in on your goals. From time to time you need to reevaluate what your goals actually are so that you can make any necessary course corrections. I know that I currently have one fairly large course correction in front of me and for the time being, I am currently choosing to ignore it.

Seize the day and have a great week – there are obstacles and challenges before us all but we will be the better for taking the more interesting path.

Cheers,

Bob signature FAIA

684 Miles of Wire: Robots Complete World’s First 3D-Printed Steel Bridge

21 April, 2018 - 19:00
[ By WebUrbanist in Conceptual & Futuristic & Technology. ]

Weighing close to 10,000 pounds, the complex shape and curvy form of this stainless steel bridge reflects the multi-axis printers that made it, line by molten line, and help highlight the potential of metal-printing technologies.

The MX3D Bridge was designed by Joris Laarman Lab (with engineering help from Arup and other partners) and spans just over 40 feet. It is constructed from a new type of steel, laid down by a team of robots. There is a certain roughness that is a byproduct of the printing process, which could be buffed away, but also may be left to highlight the novel method of construction.

Tucked in a linear warehouse with ordinary-shaped tools and materials, the design really stands out — it is full of winding curves, demonstrating possibilities for complex forms for architectural, industrial, maritime and space applications. Shot out beyond Earth’s orbit, machines like these may build the first non-terrestrial colonies on the moon or Mars using local materials.

This first bridge, however, which has been going through design and construction phases for a long time now, we be installed over a canal in Amsterdam next year, after being subjected to rigorous load tests and analyzed so engineers can learn from and iterate on its design. Given its unusual shape, it doesn’t fit typical building codes — new ones may need to be written for its future counterparts.

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Zaha Hadid's Dongdaemun Design Plaza Through the Lens of Andres Gallardo

21 April, 2018 - 09:00
© Andres Gallardo © Andres Gallardo

In the bustling streets of Seoul, the Dongdaemun Design Plaza by Zaha Hadid Architects has become a landmark for its atypical architecture. A complex yet effortless building, the Design Plaza encapsulates the energy of the cultural hub in Dongdaemun, an area that has itself earned the nickname of the "town that never sleeps" thanks to its late-night fashion market.

Investigating the building's twists and turns, Andres Gallardo has photographed the structure's fluid compositions. Although his photographs display little human presence, the building itself expresses the activity that occurs throughout day and night. Beneath the walkable park on the roof, Dongdaemun Design Plaza includes large global exhibition spaces, a design museum, 24-hour retail stores and a media center, among many other facilities that intertwine across the levels.

© Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo © Andres Gallardo

Dongdaemun Design Plaza / Zaha Hadid Architects

Tri-Tessellate / AKDA

21 April, 2018 - 04:00
Courtesy of AKDA Courtesy of AKDA
  • Architects: AKDA
  • Location: Hosiery Complex Block B Rd, Hosiery Complex, Block B, Noida Phase-2, Phase-2, Noida, Uttar Pradesh 201305, India
  • Lead Architect: Amit Khanna
  • Project Architect: Daud Malik
  • Area: 2350.0 m2
  • Project Year: 2018
Courtesy of AKDA Courtesy of AKDA

Tessellate (verb) “tocover (a plane surface) by repeated use of a single shape, without gaps or overlapping.”

The persistence of zoned industrial areas surrounding growing cities is a vestige of Ebenezer Howard’s conceptualization of an ideal city. Howard understood that the production of goods was vital to the economy but couldn't bring himself to harmonize the idea that manufacturing could exist within the city. Generations of successive urban planners have laid out industrial areas far removed from the dense city centres where they once prevailed, choosing to mistakenly empathize with the needs of the urban elite, rather than with the blue collar working class, whose commute remained an unessential component of the decision making process.

Courtesy of AKDA Courtesy of AKDA

The New Okhla Industrial Development Authority (or Noida), is one of the few municipal organizations in the world where the city agency has actually lent it’s acronym to the very city it services. Noida, as the region to the south-east of Delhi’s Yamuna, is colloquially known, is home to one of the largest “planned” areas in the region. A vast swathe of seemingly boundless grids has been overlaid over the landscape, with sector numbers running into triple digits. Connected via an immense highway to the south is Greater Noida, an equally ambitious planning exercise that is home to institutions, multi-storey residential buildings and even, an erstwhile formula one racing track. Nestled in the midst of this conurbation is the Hosiery Complex, an industrial hub allocated to the garment manufacturing business. Twenty years in the making, the surroundings still very much feel like a work in progress, as smaller industrial units give way to denser, vertical factories contained in multi-storey configurations.

Concept 2 Concept 2 Concept 1 Concept 1

To articulate a meaningful architectural response to such an insipid context, it was necessary to delve deeper into the intrinsic, to create a pattern, as it were. Fabrics are about patterns, often repetitive and the facade of this building uses layers (another garment reference), to create a multiplicity of surface textures. Cool grey glass is combined with a gradation of blue, grey, and white aluminum panels that seem to emerge with solidity from the ground, and eventually dissipate into the horizon. The exposed ends of the framework peek out from behind the top of the finished cladding, not unlike the tassels of a carpet, proud of their necessity in the process.

Courtesy of AKDA Courtesy of AKDA

The building is laid out to maximize the efficiency of manufacturing processes that are housed within. Pallets of fabric make their way down ramps to the storage areas in the basement, where they are cut and bunched into bundles, complete with accessories. These make their way to the upper floors, where lines of stitching machines produce the semi-finished product. The final touches of packaging, labelling, quality control and dispatch are handled on the ground floor. The office space dominates the first floor, with the largest areas allocated for the sampling section and a work space for the designers. This work space was designed as a white space, a blank canvas to encourage creative freedom, while reducing strain. A showroom and a few private offices line the perimeter, while a corridor provides the requisite access to the rear fire escape stair.

Section Section

The name of the building is derived from the visual complexity of the facade. To tessellate is to repeat a pattern so as to create a plane. The unit chosen here is the triangle, the proportions so chosen for the ability to extract exactly four equal four-foot side pieces from a single 8x4 sheet. Apart from the longevity, the idea that material must not be wasted is a key component of our approach to sustainability. While the glass panels may appear randomly sprinkled, their positions are the result of interior daylighting requirements. The colours of the panels themselves have been chosen for better light absorption at lower levels, with higher levels of reflectivity closer to the top of the building. A tubular aluminum frame supported on robust metal brackets underpins the facade. Diagonal cross bracing support the glass and aluminum panels on the peripheries, creating the precise six sided joints.

Courtesy of AKDA Courtesy of AKDA

As the city inexorably grows to encompass these peripheral industrial areas, it’s architecture would also need to be responsive to this growth and migrating population. Creating workplaces that appear more welcome, would not only ensure better working environments and further better productivity, but also a much needed change to the decade-old context.

New Phantom Architecture by Eduardo Tresoldi Haunts the Grounds at Coachella

20 April, 2018 - 19:00
[ By SA Rogers in Art & Installation & Sound. ]

Full-scale neoclassical and baroque buildings made of wire mesh loom over festival-goers at Coachella this week, representing artist Eduardo Tresoldi‘s largest works yet. The Italian sculptor is known for his eerie installations of translucent architecture, previously seen in a stunning indoor installation in Abu Dhabi, a ghostly ship sailing across Italy’s Bay of Sapri and the resurrection of a long-fallen church in Puglia. Entitled ‘Etherea,’ the new sculptures are a reflection on humankind’s relationship with our built environments.

“The installation plays ironically on the dualism between the pure and the filtered experiences that intertwine with one another, to eventually leave the man at the center of it all,” says Tresoldi. “With the passage from a macro-reality to a restricted one, the human body becomes a key to read, discover, measure and experience reality, just like architecture itself. An analogy between man, architecture and their surroundings is ultimately established.”

The three structures that make up ‘Etherea’ at the Coachella Music Festival stand at 36, 54 and 72 feet in height, taking Tresoldi’s sculpture to a whole new scale. They make a striking contrast with the palm trees, mountains and spectacular sunsets in Indio, California, where Coachella is set. Shots that include the crowds really reinforce just how big these creations are.

As always, the layers of mesh create a haunting sense of unreality, keeping the scenery and sky visible beyond each of the ‘buildings’ so they feel more like memories or projections than physical structures.

Photos by Roberto Conte

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See Dubai-Based Architecture Firms Through the Lens of Marc Goodwin

20 April, 2018 - 10:00
Jumeirah Lake Towers Jumeirah Lake Towers

From Barcelona to Bejing, Marc Goodwin is capturing architectural workspaces around the world. Goodwin’s latest endeavor: Dubai. Scroll down to get a glimpse of where architects like the ones at RMJM and EDGE work in the “City of Gold.”

The Yard Al Serkal Avenue

The Yard Al Serkal Avenue The Yard Al Serkal Avenue

Cultural Engineering

  • In this Space Since: 2017
  • Number of Employees: 10
  • Former Use of Space: Warehouse
  • Size: 140 sqm

Cultural Engineering Cultural Engineering

SVENM

  • In this Space Since: March 2017
  • Number of Employees: 5
  • Former Use of Space: Warehouse
  • Size: 140 sqm

SVENM SVENM SVENM SVENM

X-Architects

  • In this Space Since: 2012
  • Number of Employees: 50
  • Former Use of Space: Office
  • Size: 500 sqm

X-Architects X-Architects

Dubai Design District (d3)

Dubai Design District Dubai Design District

Grimshaw

  • In this Space Since: September 2017
  • Number of Employees: 5
  • Former Use of Space: Newly Built
  • Size: 216 sqm

Grimshaw Grimshaw

RMJM

  • In this Space Since: 2016
  • Number of Employees: 70
  • Former Use of Space: None
  • Size: 975 sqm

RMJM RMJM

T.ZED Architects

  • In this Space Since: April 2017
  • Number of Employees: 8
  • Former Use of Space: Newly Built
  • Size: 75 sqm

T.ZED Architects T.ZED Architects

Al Quoz

Al Quoz Al Quoz

ANARCHITECT

  • In this Space Since: 2016
  • Number of Employees: 6
  • Former Use of Space: Art Gallery
  • Size: 100 sqm

Anarchitect Anarchitect

Jumeriah Lake Towers (JLT)

Design Worldwide Partnership (DWP)

  • In this Space Since: 2009
  • Number of Employees: 40
  • Former Use of Space: Office
  • Size: 394 sqm

Design Worldwide Partnership Design Worldwide Partnership

Deira

Deira, Dubai Deira, Dubai

Ibda Design

  • In this Space Since: 2009
  • Number of Employees: 18
  • Former Use of Space: Office
  • Size: 215 sqm

Ibda Design Ibda Design

Sheikh Mohammed Bin Zayed Road

Sheikh Mohammed Bin Zayed Road Sheikh Mohammed Bin Zayed Road

ARCHIDENTITY

  • In this Space Since: 2011
  • Number of Employees: 9
  • Former Use of Space: Office
  • Size: 111 sqm

Archidentity Archidentity

Dabbagh Architects

  • In this Space Since: November 2010
  • Number of Employees: 6
  • Former Use of Space: Newlly Built / Designed By Dabbagh Architects
  • Size: 100 sqm

Dabbagh Architects Dabbagh Architects

EDGE

  • In this Space Since: 2010
  • Number of Employees: 44
  • Former Use of Space: Office
  • Size: 301 sqm

EDGE EDGE

Godwin Austen Johnson

  • In this Space Since: December 2009
  • Number of Employees: 180
  • Former Use of Space: None
  • Size: 1280 sqm

Godwin Austen Johnson Godwin Austen Johnson

Hopkins Architects Dubai Limited

  • In this Space Since: 2006
  • Number of Employees: 90
  • Former Use of Space: Car Showroom
  • Size: 500 sqm

Hopkins Architects Dubai Ltd Hopkins Architects Dubai Ltd

U+A

  • In this Space Since: 2014
  • Number of Employees: 121
  • Former Use of Space: Office
  • Size: 432 sqm

U+A U+A

Look Inside a Collection of Barcelona-Based Architecture Offices, Photographed by Marc Goodwin

Look Inside a Collection of Seoul-Based Architecture Offices, Photographed by Marc Goodwin and Felix Nybergh

Architectural photographer Marc Goodwin , in cooperation with Felix Nybergh, has recently completed the fourth collection of his "ultra-marathon of photoshoots" - this time in Seoul.

Look Inside a Collection of Shanghai-Based Architecture Offices, Photographed by Marc Goodwin

Through his series of architectural photographs, photographer, Marc Goodwin, is giving us an inside look into the architecture firms of the world's greatest cities. His work has brought us through a collection of Nordic architectural offices, firms both large and small in London, numerous studios within Beijing, a selection of practices in Seoul, and a compendium of offices through the French capital.

Look Inside a Collection of Parisian Architecture Offices, Photographed by Marc Goodwin and Mathieu Fiol

Architectural photographer Marc Goodwin, alongside Mathieu Fiol, has recently completed the fifth collection of his "ultra-marathon of photoshoots" - this time in la Ville Lumière, Paris.

See Ricardo Bofill's Converted Cement Factory Studio Through The Lens Of Marc Goodwin

Architecture photographer Marc Goodwin is continually adding to his world atlas of architecture offices. While photographing studios in Barcelona, Goodwin spent a little extra time at the post-World War I cement factory Ricardo Bofill transformed into his studio, gardens, and residence. After the cement-filled silos were uncovered, Bofill defined a new structure and program for his architectural fortress.

8 Outstanding Feature Walls Designs

20 April, 2018 - 00:48

If you are searching for a simple yet efficient way to transform and liven up any space, respected designers suggest trying feature walls. The feature or statement wall has the function to differentiate a specific wall or area of the room from the walls that are surrounding it. It can be either a high-impact differentiation or a subtle one. It is up to you to be creative, play with colors and patterns, and choose what exactly you want to highlight in your room. The options are endless.

Meanwhile, we have some ideas that could inspire you to transform your house & make an impressive style statement:

  1. Vertical garden wall

If you want to feel closer to nature while enjoying the comfort of your house, this design will make it possible. Grow your own vertical garden, and you will have fresh air and green plants all year round (for those of you who enjoy 4 seasons), plus you will have the impression of being outdoors even during the lazy days when all you want to do is stay inside. This wall looks amazing and it will definitely cheer you up and add a touch of originality to any room!

  1. World map feature wall

World maps are a stylish element to add to your design and can be wonderful reminders of the fact that you can go anywhere you chose to. While making travel plans or just enjoying your daily life, your map on the wall will give a classy air to your room and may inspire you to do great things!

  1. DIY Sharpie feature wall

The best about this type of wall is that it gives you the opportunity to get playful and creative! Prepare your permanent markers and draw your walls however you would like them! The results will be stunning and full of personality.

  1. Wall mural feature wall

Chose a mural that inspires you and notice how your wall becomes like a door to another place. It can be a very transformational element that works for any space, thereby bringing a new sense of atmosphere into your home.

  1. Chalkboard feature wall

What about transforming one of your walls into something that is both stylish, fun and useful? Try painting it with blackboard paint. This way, you will be able to leave messages for your dear ones, write out ideas, plans, write your or your children’s schedule to make sure they will not forget it. The children too can get creative and draw on the walls, and you can always clean them when you want to draw or write something new.

  1. Art Gallery wall

Great for any art lover who would like to make a room that is full of life and color! Hang up paintings, prints, photos and any artsy stuff in a personal feature gallery. You can increase the stylishness by using different frames and mixing items and colors. Just make sure that all the items complement each other and follow a central theme. Another idea would be to create a bigger image using all of them. Get playful and give freedom to your inner artist!

  1. Bookshelves as feature wall

As mentioned here, using storage items can be a great design idea for a wall. If you are one of those book lovers who has many built-in bookshelves, consider transforming this into a stylish aspect of your room. You can either paint all the shelves and the wall to which they are attached to the same color, or paint the back wall into a different color than the shelves. Whatever you chose you can be sure it will make a strong impact on your room!

  1. Fabric-covered wall

An interesting way to turn a plain wall into a trendy one is by using fabric to decorate it. Wall fabric was in vogue from the early parts of the century. You need only a few hours to complete the design of such a wall, and unlike other elements – it can be simply peeled off if you feel like changing something. Fabric can bring about a sense of more coziness and comfort to a room, and it can also have sound-proof attributes, if you go with upholstery.

In conclusion, there are plenty of things you can do to create a chic statement wall in your house. By all means, choose the colors and ideas that resonate with you and trigger positive feelings all around, but remember that, while such trends can inspire you, ultimately, you’ll have to decide for yourself what really represent you specifically.

Vespa Revamp: Classic Scooter Brought up to Speed with Electric Redesign

19 April, 2018 - 19:00
[ By WebUrbanist in Technology & Vintage & Retro. ]

The Vespampère is slim, light and stylish, recalling a vintage classic from 1948 with an electric motor and other contemporary technological tweaks to bring it in tune with the modern era. Among other neat twists, a mobile phone becomes an integrated component, effectively serving as the vehicle’s dashboard.

Italian designer Giulio Iacchetti’s fresh model draws inspiration from the film-famous silhouette of historical scooters, returning to the lighter look of original models (a plus for urban maneuverability).

The minimalist design is an intentional rejection of heavier new vehicles on the road today, and taps into mobile tech by tying controls and displays (including speedometer, fuel gauge and lights) to a connected smartphone. This gadget, in turn, is housed in a clear compartment, front and center.

The phone can charge off the vehicle’s on-board electrical system, slim rear-view mirrors feature turn signals, and the cantilevered seat links back to the very first Vespa launched by the company over a half-century ago.

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Building Blocks of Innovation: 11 Cutting Edge Materials Set to Shape the Future

18 April, 2018 - 19:00
[ By SA Rogers in Conceptual & Futuristic & Technology. ]

Architecture has looked much the same since early humans first began constructing their own shelter, but that could change soon with the introduction of new materials and technologies producing almost alien-like forms. Woven carbon fiber, ultra-strong but amazingly thin concrete, transparent wood and 3D-printed sandstone are among the innovations that could break free of the traditional constraints and result in a new era of lightweight, durable, versatile forms in all sorts of organic and mathematical shapes.

Super Wood, Nano Wood & Transparent Wood

Wood is an ancient material, and it isn’t going anywhere. Not only is wood construction enjoying a renaissance of sorts, with super-tall wood structures planned around the world, it’s seeing fascinating modifications that make it stronger and more versatile than ever. Researchers at the University of Maryland have created a ‘super wood’ that’s stronger than steel but six times lighter. First, they boil the wood in a mixture of sodium sulfite and sodium hydroxide to partially remove the lignin fiber and hemicellulose, and then hot-press it to crush the cell walls, creating durable nano fibers. This process could be carried out on wood species that are traditionally too soft for many applications, potentially shifting the entire logging industry.

The same research team also transformed wood into an insulating material that’s stronger and more environmentally friendly than styrofoam using a similar process. This ‘nano wood’ is created by removing the lignin (which gives woods its color and rigidity) as well as some of the short fibers “that make up the scaffolding-like base structure of the wood,” they explain. “The aligned cellulose fibers then bond with each other and results in a high mechanical strength.” When pressed in a certain direction it’s 30 times stronger than typical thermal insulation materials and a lot more insulating (blocking at least 10 degrees more heat than the record-setting best simulator, silica aerogel.)

Oh yeah, and then there’s transparent wood. When the lignin is leached out using that same chemical bath that’s used to make ‘super wood,’ and then the wood is soaked in epoxy, it turns the wood clear. The result looks like plastic, is stronger than glass, won’t shatter on impact and actually biodegrades. While not fully transparent, it’s able to transmit up to 90 percent of light.

Fungus-Based Self-Healing Concrete

Concrete may rarely need maintenance in the future thanks to a special species of fungi known as Trichoderma reesei, which acts as a sealing agent when added to the mix. Taking inspiration from living creatures’ ability to regenerate tissue, researchers at Binghamton University determined that the fungus lies dormant until a new crack appears, at which point its spores germinate, expand and produce calcium carbonate to fill the crack in response to oxygen and water. Considering how much infrastructure in the United States is currently crumbling, it could make a huge difference in the durability of what we build in the future.

“Without proper treatment, cracks tend to progress further and eventually require costly repair,” they explain. “If micro-cracks expand and reach the steel reinforcement, not only the concrete will be attacked, but also the reinforcement will be corroded, as it is exposed to water, oxygen, possibly CO2 and chlorides, leading to structural failure.”

The way the fungi works, “When the cracks are completely filled and ultimately no more water or oxygen can enter inside, the fungi will again form spores. As the environmental conditions become favorable in later stages, the spores could be awakened again.”

Thin-Film Photovoltaics Embedded in Concrete

Not only are we likely to see a lot more sculptural structures made of incredibly thin layers of concrete thanks to digital design and fabrication techniques, but they could be pre-embedded with thin film solar cells. This prototype was created by researchers at the Swiss Federal Institute of Technology Zurich with a surface thickness of around two inches and edges just an inch thick. Mixed within the concrete are heating and cooling coils and insulation, and the formwork is made of a polymer textile stretched across cable netting.

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House on Ancaster Creek / Williamson Williamson

17 April, 2018 - 13:00
© Ben Rahn / A-Frame Inc. © Ben Rahn / A-Frame Inc.
  • Architects: Williamson Williamson
  • Location: Hamilton, Canada
  • Project Team: Betsy Williamson, Shane Williamson, Chris Routley, Paul Harrison, Dimitra Papantonis, Lucas Boyd, Eric Tse, Donald Chong (Project initiated under Williamson Chong Architects)
  • Area: 3800.0 ft2
  • Project Year: 2016
  • Photographs: Ben Rahn / A-Frame Inc.
  • General Contractor : David Bernstein, DB Custom Homes Inc.
  • Structural Engineering : Ethan Ghidoni, Blackwell Engineering
  • Stair Engineering : Shannon Hilchie, Feat Lab
  • Stair Construction : Lennox Stairs and Wood Flooring
  • Mechanical Engineer: Bowser Mechanical
© Ben Rahn / A-Frame Inc. © Ben Rahn / A-Frame Inc.

Text description provided by the architects. A wide lot backing onto Ancaster Creek is the site for an intergenerational home for a couple and their elderly parents. The house was conceived as two distinct residences, each formed into a linear bar containing the full program of a home. The bars sit perpendicular to each other, creating a landscaped courtyard setback from the street, and stack at the corner.

Massing Diagrams 1 Massing Diagrams 1 Massing Diagrams 2 Massing Diagrams 2

The parent’s suite occupies the ground floor with the living and dining space anchoring the view. The suite is laid out as a single floor accessible apartment with added features to accommodate the specific challenges facing the ageing parents. Among them, well-located drains and a master power switch mitigate issues that have come with memory loss: a sink left running, or an oven left on.

© Ben Rahn / A-Frame Inc. © Ben Rahn / A-Frame Inc.

Running parallel to the creek is the main residence. The kitchen anchors the south end of the house. Set in a double height volume, the 20-foot-tall pyramidal ceiling creates an expansive space that opens to the creek, the courtyard, and above to the sky.

© Ben Rahn / A-Frame Inc. © Ben Rahn / A-Frame Inc.

The grand gesture of a wood-clad spiral staircase connects the living room to the second floor master suite, creating a unique moment in the otherwise orthogonal room and celebrating the connection between floors. The curvature opens as it rises and becomes the ceiling of the adjacent wing, creating a pinwheeling effect that leads to the parents’ suite.

© Ben Rahn / A-Frame Inc. © Ben Rahn / A-Frame Inc.

The ground floor of the house is clad in 3-1/2” thick locally quarried Algonquin limestone which meanders around the perimeter. The coursing is designed to highlight the compression and layering that forms this sedimentary rock. 12” tall stones at the top-most course compress to 4” at the bottom. The horizontal joints are raked deep and the vertical joints are filled flush to emphasize the horizontality of the rock.

Site Plan with Ground Floor Site Plan with Ground Floor

To reduce the ecological footprint, energy consumption was decreased through several key moves. Most importantly, two families are now living on a single-family lot, increasing density without increasing building area. Second is the envelope: A high-performance glazing system, triple-pane wood-frame windows with an average Uw = .77 anchor the highly insulated envelope. Radiant floor heating can then be used sparingly and only to compliment a high efficiency furnace. Finally, a 37 module 9.8 kW solar array was installed across two of the flat roofs, offsetting energy consumption. Combined with LED lighting, these measures culminate in a low-energy home that not only sits comfortably in this Northern climate but met the target for the 2030 challenge in its permit year.

© Ben Rahn / A-Frame Inc. © Ben Rahn / A-Frame Inc.

Qatar National Library / OMA

17 April, 2018 - 11:05
© Iwan Baan – OMA © Iwan Baan – OMA
  • Design Team Sd, Dd And Cd: Sebastian Appl, Laura Baird, Andrea Bertassi, Helen Billson, Benito Branco,Nils Christa, Daniel Colvard, Tom Coronato, Anita Ernodi, Clarisa Garcia-Fresco, Dina Ge, Mauricio Gonzales, Bermy Ho, Vincent Kersten, Keigo Kobayashi, Dimitri Koubatis, Jang Hwan Lee, Oliver Luetjeus, Bimal Mendis, Joaquin Millan Villamuelas, Barbara Modolo, David Nam, Sebastian Nau, Rocio Paz Chavez, Francesca Portesine, Teo Quintana, Miriam Roure Parera, Peter Richardson, Silvia Sandor, Tjeerd van de Sandt, Louise Sullivan, Anatoly Travin, Yibo Xu
  • Executive Team And On Site Team: Vincent Kersten, Gary Owen
  • Sub Consultants: ARUP Acoustics
  • Dhv Façade: ABT
  • Cost Analyst: David Langdon
  • Interior, Curtains, Landscape: Inside Outside
  • Construction Document Phase: CCDI
© Iwan Baan – OMA © Iwan Baan – OMA

The Library by Rem Koolhaas 
The physical impact of books has been important in terms of my entire formation. The first books that fascinated me were the fairy tales of Grim illustrated by Gustave Doré. I still remember the physical nature of those books as one of the strongest memories of my entire life. In the 1950s I would spend time in the library of the Stedelijk Museum – almost like in a living room. My first intersection of writing and architecture was Delirious New York, which I wrote in the New York Public Library, going through microfilms, old newspapers, and books. I made one particular seat my own, almost day and night.

One similarity between architecture and bookmaking is that both have unbelievably long traditions but are also forced to be of the moment, constantly updating in order to survive. We have designed many libraries and built a few. Libraries, as a typology, are so exceptionally suitable to produce radical architecture. Apparently, there is a paradox that such a traditional form produces inventive solutions, and that is the case for the Qatar National Library. The building is 138 meters long, equivalent to the length of two 747s. This is not to boast about scale but because from the beginning the idea was to make reading as accessible and as stimulating as possible to the population of Qatar as a whole. We thought we could achieve that by creating a building that was almost a single room, not divided in different sections, certainly not into separate floors.

We took a plate and folded its corners up to create terraces for the books, but also to enable access in the center of the room. You emerge immediately surrounded by literally every book – all physically present, visible, and accessible, without any particular effort. The library is a space that could contain an entire population, and also an entire population of books...

Delfino Sisto Legnani and Marco Cappelletti © OMA Delfino Sisto Legnani and Marco Cappelletti © OMA

Project Description
Qatar National Library contains Doha’s National Library, Public Library and University Library, and preserves the Heritage Collection, which consists of valuable texts and manuscripts related to the Arab-Islamic civilization. The public library will house over a million books and space for thousands of readers over an area of 42,000 m2. The library is part of the Education City, a new academic campus which hosts satellite campuses from leading universities and institutions from around the world.

© Iwan Baan – OMA © Iwan Baan – OMA

Qatar National library is the latest expression of OMA’s long-term interest in the library, which goes back to the competition for the National Library of France in 1989. At that moment, the “electronics revolution” seemed “to eliminate all necessity for concentration and physical embodiment” of knowledge (S,M,L,XL). The whole raison d'être of the library was being questioned: Would we still need libraries? Could libraries survive the digital culture? With Qatar National Library, we wanted to express the vitality of the book by creating a design that brings study, research, collaboration and interaction within the collection itself – a collection that consists of over one million volumes, among which are some of the most important and rare manuscripts in the Middle East.

© Iwan Baan – OMA © Iwan Baan – OMA

The library is conceived as a single room which houses both people and books. The edges of the building are lifted from the ground creating three aisles which accommodate the book collection and, at the same time, enclose a central triangular space. This configuration also allows the visitor to access the building at its center, rather than laboriously entering from the perimeter. The aisles are designed as a topography of shelving, interspersed with spaces for reading, socializing and browsing. The bookshelves are meant to be part of the building both in terms of materiality – they are made of the same white marble as the floors – and of infrastructure – they incorporate artificial lighting, ventilation, and the book return system.

© Iwan Baan – OMA © Iwan Baan – OMA Level 1 Floor Plan © OMA Level 1 Floor Plan © OMA Delfino Sisto Legnani and Marco Cappelletti © OMA Delfino Sisto Legnani and Marco Cappelletti © OMA

A column-free bridge connects the library’s main aisles, allowing for a variety of routes throughout the building. The bridge is also a meeting space: it hosts media and study rooms, reading tables, exhibition displays, a circular conference table, and a large multipurpose auditorium, enclosed by a retractable curtain designed by Amsterdam studio InsideOutside, who were also responsible for the landscaping.

Delfino Sisto Legnani and Marco Cappelletti © OMA Delfino Sisto Legnani and Marco Cappelletti © OMA

The heritage collection is placed at the center of the library in a six-meter-deep excavated-like space, clad in beige travertine. The collection can also operate autonomously, directly accessible from the outside. The corrugated-glass façade filters the otherwise bright natural light, creating a tranquil atmosphere for reading. The diffuse light is directed further into the core of the building by a reflecting aluminium ceiling. Outside, a sunken patio provides light to the staff office space in the basement, and at the same time acts as transition space before entering the world of books.

Delfino Sisto Legnani and Marco Cappelletti © OMA Delfino Sisto Legnani and Marco Cappelletti © OMA

Qatar National Library plays a central role in the Education City, a project initiated by Her Highness Shiekha Mozah and the Qatar Foundation as part of Qatar’s transition to a knowledge-based economy. The master plan, designed by Arata Isozaki in 1995 and inaugurated in 2003, consists of education and research facilities, including branches of internationally acclaimed universities and the headquarters of the Qatar Foundation, also designed by OMA and completed in 2016.

Delfino Sisto Legnani and Marco Cappelletti © OMA Delfino Sisto Legnani and Marco Cappelletti © OMA

Tree-ness House: An Urban Jumble of Concrete Volumes & Terraces

17 April, 2018 - 03:00
[ By SA Rogers in Architecture & Houses & Residential. ]

A maze-like tower of voids and projections looms above the streets of Tokyo, offering residents cascading outdoor spaces all along the building’s roof and facade. ‘Tree-ness House’ by Japanese architect Akihisa Hirata takes inspiration from nature for this unusual design of stacked concrete boxes full of inward-facing private rooms as well as outward-facing terraces. It almost seems like you could get lost inside exploring all of its nooks and crannies.

Tree-ness House, Tokyo, Japan

Tree-ness House, Tokyo, Japan

Announced in 2010 and completed this year, ‘Tree-ness House’ aims to create a more dynamic experience for its residents with ambiguous interior and exterior spaces. Instead of stacking the floors on top of each other, individual private spaces are offset at various heights with ‘pleated’ openings making room for small gardens.

#stars #treenesshouse #akihisahirata #tokyo

A post shared by Ayami Takada (@ayam_ism) on Aug 26, 2017 at 9:01pm PDT

The interior spaces are just as ambiguous, with staggered voids and glass walls offering glimpses of the terraces and the sky beyond them. For a better look at Tree-Ness house, inside and out, check out the website of photographer Vincent Hecht.

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GIFs That Keep on Giving: 20+ Captivating Animated Illustrations

16 April, 2018 - 19:00
[ By SA Rogers in Art & Drawing & Digital. ]

Maybe you can’t hang a poster of a GIF on your wall (yet) but these fun animated images are definitely frame-able, ranging from classic art brought alive by subtle moving elements to hypnotic abstract digital creations. You don’t need psychedelic drugs to enjoy the mesmerizing effects, but hey, it probably wouldn’t hurt.

Necessary Disorder: Gifs by Etienne Jacob

French student Etienne Jacob has an entire tumblr packed full of looping GIF images in stark black and white, made via programming with the ‘Processing’ software sketchbook.

Traditional Japanese Woodblock GIFs by Atsuki Segawa

Traditional hokusai ukiyo-e woodblock prints from Japan hurtle into the 21st century with a lively GIF treatment from video artist Atsuki Segawa. Familiar imagery blends with contemporary and futuristic elements like glow sticks, UFOs and record players in these fun images.

Edward Hopper in Motion by Verve Search

Edward Hopper’s classic 20th century paintings come to life in a series of animated GIFs made by UK creative agency Verve Search. Created for Orbitz, the collection aims to introduce the painter’s work to a younger generation.

Surreal Animated Images by Nicolas Monterrat

With names like “Well… it is unexpected” and “What a strange afternoon,” these animated GIFs by Nicolas Monterrat seem to reflect a parallel reality in which the laws of physics are just a little bit looser. Each one tells its own strange story.

Animated Fairytale Nature Scenes by Alexandra Dvornikova

Hidden worlds glow and flicker within the darkened woods in these fairytale-like animations by London-based illustrator Alexandra Dvornikova. Some of the moving elements are so subtle, it takes a few seconds to register what they are. While we’re waiting for moving posters to be a real thing, you can pick up Dvornikova’s illustrations on Society 6.

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Riffin’ Large: MST3K Graffiti, Stickers & Stencils

15 April, 2018 - 19:00
[ By Steve in Art & Street Art & Graffiti. ]

Mystery Science Theater 3000 (or MST3K for short) was a Nineties pop culture TV phenomenon that endures through graffiti, stickers, stencils and street art.

Mystery Science Theater 3000 debuted on Minneapolis TV station KTMA in late 1988 and the final episode (#211 for those keeping count) of its tenth season aired on the Sci-Fi Channel in September of 1999. Skewering late twentieth century society and culture along with the “cheesy movies” it riffed on every Sunday A.D., the show featured Joel Hodgson (aka Joel Robinson) and later Mike Nelson accompanied by their robot friends and co-riffers Tom Servo and Crow T. Robot.

As seen in our lead image snapped by Flickr member huntingtherare in 2010 and the next one, captured by Flickr member Courtney “Coco” Mault in 2007, the show’s most identifiable trope is the silhouette of Servo, Hodgson/Nelson and Crow in movie-watching mode.

Hands Down

One of the most famous MST3K episodes (and one of the worst movies ever made, regardless) was “Manos: The Hands of Fate”. The 24th episode of MST3K’s Season 4 aired in January of 1993 and was preceded by a short film – also mercilessly riffed – called “Hired”. Just how bad was Manos, a 1966 ultra-low-budget horror flick? To quote Joel, “Every frame of this movie looks like someone’s last known photograph.” Flickr member Thomas Anderson snapped this blood-red stencil of the Manos hands on a Chicago street back in the fall of 2007.

Cambot, Is That You?

Besides Crow and Servo, the main human protagonist of MST3K also enjoyed the company of robotic characters Gypsy (played by producer Jim Mallon) and Cambot. We’re not sure if whomever stenciled the sign above was inspired by the latter or if it’s just coincidental. The sign is (or was, in September of 2009) located outside the Electric Fetus, a renowned Minneapolis record store, and was snapped by Flickr member 612 to 651.

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Aperture / Arno Matis Architecture

15 April, 2018 - 15:00
© Michael Elkan © Michael Elkan © Michael Elkan © Michael Elkan

Text description provided by the architects. Located in Vancouver, Canada, this residential project by Arno Matis Architecture features façade openings that are programmed to provide passive shading, and act like an Aperture: opening and closing in response to the unique solar exposure of each façade. Apertures are deeper on the south elevation to provide increased sun shading, and more shallow and open to the North, to allow for additional light.

© Michael Elkan © Michael Elkan

Each aperture is framed with natural wood-in-glass; a building skin that is the first of its kind. A mahogany veneer encapsulated between two glass layers, the system allows the wood to be preserved in its natural form without staining or colour treatment; the richness of the natural wood grain is enhanced through refracted light.

© Michael Elkan © Michael Elkan

Encapsulated UV glass protects wood from weather exposure, eliminating the need for wood maintenance and staining. The insulated panel also reduces solar gain and increases the thermal resistance of the façade.

Diagram A Diagram A Diagram B Diagram B

Stratigraphic architectural themes echo the area’s mid-century modern architectural vocabulary. Cantilever decks and strong horizontal lines and create a sense of lightness and lower the massing profile.

© Michael Elkan © Michael Elkan

A full city-block located in a “single-family-transitioning-to-urban” neighborhood, the building responds to this context by stepping-down in scale from 6-storey midrise blocks on the busy arterial, down to two-storey villas, sensitive to the single-family neighborhood to the north.

Plans Plans

The six building blocks are bisected with water gardens and bamboo courtyards that animate volumes with reflective light. The shallow massing results in bright, light-filled residences.

© Michael Elkan © Michael Elkan

The building’s ‘campus-like’ massing creates interstitial social spaces: landscaped courtyards, mid-block water fountain and seating, and two, 6,000 SF fully-communal rooftop terraces that includes urban agriculture, a children’s play place and BBQ areas where all can share Vancouver’s striking mountain views.  

© Michael Elkan © Michael Elkan