A pedestrian bridge has been 3D-printed in Lyon by a team that included Swiss cement-maker Holcim, British designer Zaha Hadid Architects, ETH Zrich and Austrian printing specialist Incremental3D.

The precursor project to the Phoenix bridge was announced in 2021 and carried out at Holcims French Innovation Hub.

The bridge gains its structural strength from compression, which means that it needs no mortar or reinforcement, and the material required to make can be cut by about half. The concrete blocks it is made from contain recycled materials and they can be disassembled and recycled, making the building process circular.

Edelio Bermejo, Holcims head of research and development, said: Phoenix is the result of a fruitful collaboration with our partners to meet a common goal: demonstrating that essential infrastructure can be designed and built in a way that is circular and low-carbon.

Philippe Block, the co-director of ETH Zurichs Block Research Group, said: Concrete is an artificial stone, and like stone, it does not want to be a straight beam, it wants to be a masonry arch.

Following these historical principles allows us to keep materials separated for easy recycling and to dry-assemble the structure for easy deconstruction and reuse. 3D concrete printing allows us to use material only and exactly where needed."

Holcim will carry out further tests and look for way to scale up the printing process.

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Holcim and Zaha Hadid Architects team up to print circular bridge - Global Construction Review

Japanese studio Kooo Architects has completed a collection of hotel cottages in China that draw on the local vernacular to integrate into the surrounding village.

Named Ningshan LuZhai Cottages, the hotel was designed to appear like a series of cottages alongside terraced farmland at the foot of a small mountain in Yuwancun, Ankang City.

Spanning across a narrow L-shaped footprint, the hotel scheme consists of eight rooms connected across two storeys and configured to overlook rice paddies to the front of the site.

The upper level rooms were arranged around private "garden-like" entrances nestled within a gap between each structure. By breaking down the upper level form of the building, the studio aimed to harmonise the design with the scale of the neighbouring houses.

"The architectural plan and layout of the first and second floors were influenced by the panoramic fields at the foot of the mountain and along the river, and we wanted guests to be able to experience the landscape from their rooms as much as possible," the studio explained.

"Although it is a single two-storey building, this design was intended to make the building look like a single-storey villa built on a base of Nozura-zumi [retaining] walls."

Kooo Architects used traditional construction and material techniques to match the building's exterior with the distinctive regional character.

"We decided to design and plan the hotel to make maximum use of locally available building materials and to incorporate as many of the construction methods that have long been used in the area," Kooo Architects told Dezeen.

"So as not to disturb the landscape visually, we also aimed for the hotel to blend in with its surroundings and the neighbouring village."

By following the elevation changes across the site, the studio also sought to achieve efficient circulation for guests entering the hotel from the village.

"Guests approach the hotel from the reception area at the entrance to the village looking out over the magnificent rice fields and head to the guest rooms via the 'gap' space on the second floor above the retaining wall," the studio said.

"By taking advantage of the differences in elevation and entry approach from the second floor, the hotel succeeds in securing the privacy of each guest room."

Characterised by external finishes of white lime and ash tiles, Kooo Architects contrasted traditional construction methods for the facade and roof against a streamlined interior strategy.

"Many of the retaining walls in the vicinity are made using 'Nozura-zumi', a technique of stacking natural stones 'as they are' to create walls," the studio said. "This influenced how we approached our choice of materials and building techniques."

"We focused on using locally sourced materials that were easy for local craftspeople to handle. Stone familiar to the area and accessible locally was used for the external walls, blending in with the appearance of the surrounding landscape, while also matching the stone of the local retaining walls."

"We also incorporated wooden roofs with log rafters, beams and 'Dougong' a structural element of interlocking wooden brackets in China all characteristic of the local building construction methods."

Kooo Architects was founded in 2015 by Shinya Kojima and Ayaka Kojima and has offices in Tokyo and Shanghai.

Other projects by the studio include the conversion of a 1970s textile factory in Shanghai into a Freitag store and the transformation of a concrete structure into a guesthouse in China.

The photography is by Keishin Horikoshi

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Kooo Architects designs rural hotel to blend with village in China - Dezeen

British studio Will Gamble Architects has completed an extension and refurbishment to a family home in Croydon, London, defined by a contemporary colonnade spanning across the rear facade.

Designed for a growing family with a desire to improve their home's versatility, Will Gamble Architects sought to preserve elements of the existing architecture while delineating a new ground floor living space and revamped upper level primary bedroom.

"The overarching concept was to reinvent the ground floor to provide a multifunctional living space capable of catering for extended family and guests, as well as providing more intimate spaces for the immediate family," Will Gamble Architects associate Miles Kelsey told Dezeen.

"The project retains key characteristics of the existing architecture, including a traditional reception room and ornate fireplaces and mouldings, whilst accommodating more contemporary spaces that allow it to cater for 21st-century living."

The external colonnade, flanked by deep brown ash slats, was conceived to frame a visual link to the rear garden and finished in a textured microcement to reference the rough cast render of the local vernacular.

Large pivot doors and floor-to-ceiling glazing fit between each column, providing direct access to the outdoors from the ground floor communal spaces.

"[The home] lacked a significant visual or physical connection to this natural outlook," Kelsey explained. "A contemporary interpretation of a colonnade, with deep vertical fins and an angled fascia, was used across the rear elevation to establish this missing connection."

"The distance between these fins varies across the elevation's width and responds to the different uses internally to help create a subtle visual separation," Kelsey continued. "The wider opening defines the dining area whilst the smaller, narrower apertures enclose the kitchen space."

"The fins of the colonnade are linked by a steeply angled fascia which emphasises the height of the glazed openings, increasing the amount of natural light entering the building."

Following the client's brief, Will Gamble Architects aimed to break down the rigidity of the pre-existing spaces to create greater internal flexibility. The resulting open plan layout of the lower level extension was subtly divided by walnut fin screens, mirroring the verticality of the colonnade.

"The open-plan living arrangement at ground floor has been designed to accommodate large family gatherings, whilst including more private, 'snug-like' spaces," Kelsey said.

"This has been achieved through the use of floor-to-ceiling slatted partitions which help [to] zone the space, whilst maintaining a degree of transparency with the spaces adjacent. A level change compartmentalises the spaces even further."

The studio continued the microcement language internally to the kitchen, alongside polished concrete floors and contrasted against black Valchromat and walnut cabinetry.

"The chosen materials have unique textural qualities and offer warmth and character," Kelsey explained.

"These materials are applied across various surfaces including walls, floors, bespoke furniture, worktops and slatted screens. The consistent material palette creates a cohesive language across the entire scheme."

An inset angular dormer defines the renovated main bedroom at the second floor and was finished in red zinc to blend with the original red clay roof tiles.

The dormer's internal walnut reveals host a large window seat and desk with floor-to-ceiling glazing overlooking the site's context.

Will Gamble Architects was established in London by Will Gamble in 2018. The studio has previously completed an extension for a Grade II-listed house in north London informed by desert modernism and a renovation for a heritage-listed terrace house in south London.

The photography is by Chris Wharton

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Deep-finned colonnade frames home extension by Will Gamble Architects - Dezeen

American-Israeli designer, artist, and academic Neri Oxman allegedly plagiarized passages from Wikipedia, academic papers, and other scholarly sources in more than two dozen instances, including her doctoral dissertation, according to reports from Business Insider published on Thursday and Friday last week. The articles came out in short succession after the resignation of Harvard President Claudine Gay following national backlash against accusations of plagiarism against her led in part by Oxmans billionaire husband Bill Ackman.

In its first report, Business Insider found four instances in which Oxman allegedly violated the universitys academic integrity guidelines by omitting quotation marks around passages she had lifted from scholarly sources for her doctoral dissertation. The next day, the media outlet reported an additional 28 cases of plagiarism committed by Oxman, who allegedly copied material from Wikipedia, peer-reviewed academic papers, websites, and a textbook without attribution.

A former tenured professor at the Massachusetts Institute of Technology (MIT), Oxman is known as the founding director of MITs Mediated Matter a research group focusing on the field of material ecology or the crossover of computer engineering and biological design in order to strengthen the relationship between human-made and natural structures and environments. In 2020 and 2022, Oxmans work was the subject of solo exhibitions at the Museum of Modern Art in New York and the San Francisco Museum of Modern Art, respectively.

Last Thursday, January 4, Oxman published a statement on X apologizing for the plagiarism, writing that she is committed to reviewing the missed citations and is requesting that MIT make any necessary corrections. She also used the post to promote her new New York City-based design company, Oxman. Oxman and MIT have not yet responded to Hyperallergics requests for comment.

Ackman, her spouse, also commented on the plagiarism accusations, decrying what he viewed as a lack of due process by Business Insider in posts on X, though he did not raise factual issues with the stories. The high-profile hedge fund managers comments quickly garnered scrutiny from users who pointed out his recent campaign to expel Gay from her position as Harvards president, as well as university leaders Sally Kornbluth of MIT and Liz Magill of the University of Pennsylvania, in response to the congressional hearings on reported antisemitism at university campuses. After Gays resignation, Ackman further criticized the news that Gay would remain a highly paid faculty member on account of her serious plagiarism issues.

Responding to Ackmans criticism, a spokesperson forBusiness Insiders owner Axel Springer stated toSemaforthat although the reports on Oxmans alleged plagiarism have not been contested, the news outlet will review the processes around these stories to ensure that [its] standards as well as journalistic values have been upheld.

In recent years, Oxman and the institutions supporting her work have also been the subject of criticism for her acceptance of donations from convicted pedophile and financier Jeffrey Epstein. Over two decades, Epstein gave $800,000 to the universitys MediaLab, including a gift of $125,000 to Oxmans lab in October 2015.

As part of my job at the Media Lab, I give presentations to sponsors and potential donors typically several times a week, Oxman said in a past statement, adding that she only met Epstein once along with other MIT faculty members during one of these presentations.

From Epsteins gifts to the Media Lab, my group received $125,000 with MITs requirement that it be kept confidential so as to not enhance his reputation by association with MIT, and with the understanding that he would not be considered a sponsor of our groups research or have any involvement in how the funds were spent. I regret having received funds from Epstein, and deeply apologize to my students for their inadvertent involvement in this mess, Oxman said.

At the time of the donation, Epstein was a registered sex offender and had previously served a 13-month sentence for soliciting prostitution from a minor. Two years later, Oxman complied with instructions from MediaLabs then-director Joi Ito to send Epstein a marble sculpture along with a pair of gloves as a sign of appreciation for his donations, the Boston Globe reported in 2019. In another case of Ackman entangling himself in his Oxmans affairs, the billionaire reportedly raised concerns with Ito in an effort to keep Epsteins donations to Oxmans lab out of the public eye.

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Designer and Architect Neri Oxman Accused of Plagiarism - Hyperallergic

What were some determinants that specified the creative and current gestalt of architecture, journeying from the fiercely standardised 'analogue' to the hybridised 'digital'? When did the prolific integration of electronic computation occur, leading architects to employ digital tools within their practices, and what did this restructuring entail?

The Internet of Things and the age of the digital dawned at a frantic and formidable pace, signalling and affecting a substantial shift in the way we viewed, accessed, and navigated our world, and the same holds true for contemporary architecture practisesfor one, during the 1990s and 2000s, the rapid development of digital technology changed the way buildings were brought to life: drawing boards replete with laboriously hand-drawn, mammoth sized sheets were replaced by computer-aided, digitally-achieved, printed diagrams and models.

Hand and Machine. Architectural drawings at the National Museum of Art, Architecture and Design in Oslo, Norway, performs and leads with a similar premise: the architectural exhibition on view from November 17, 2023 - March 31, 2024, displays drawings conceived by architects between the years 20082023, a period bookended by two global crises: the financial crisis and the coronavirus pandemic, according to the host.

"The financial crisis of 2008 caused serious economic difficulties for many architects, but it also led to a period of reflection and reaction. The exhibition shows how many architects reverted to analogue forms of expression, collective working arrangements, community engagement, and a local focus in the wake of the crisis," they continue.

How did these crunches redefine, reform, or reclaim the nature and practice of conceiving architectural drawings?

"The title Hand and Machine refers to a tendency in recent years, [of] digital and hand-made approaches to architectural drawing merging into newer, more hybrid formsa tendency we take as a starting point for the exhibition, Joakim Skajaa, architecture curator at the National Museum of Art, Architecture and Design, tells STIR.

The exhibition floor is strewn and covered with massive images by Austrian-Norwegian photographer Max Creasy, which were obtained during visits to the studios of some of the featured architects in Hand and Machine. These photographs, mostly abstractly arranged and presented, showcase recognised paraphernalia such as free-form sketches, pencils, rulers, crumpled papers, and more, depicting a slightly informal, yet welcoming setting that allows visitors to roam and engage at fancy. The featured works are presented across various means, some staged on canvases, or blinking virtually through screens attached to ladders and scaffoldings, safe behind glass cases, resting on benches, against or on timber tables and chairs, or pinned attentive on walls.

The intent and idea of the exhibition design (which is also accompanied by a catalogue published by the Museum), according to Skajaa, is to make something that is informal and quite playful, while at the same time, giving visitors the chance to experience the drawings up close and on the table. As in the architect's office, we have also made a photographic print on the floor with photos from the offices, trying to give the visitors a little glimpse of the context around the creation of these drawings.

The National Museum of Art, Architecture and Design is the largest art museum in the Nordics, boasting a comprehensive collection containing 4,00,000 objects ranging from antiquity to the present day, which includes paintings, sculptures, drawings, textiles, furniture designs, as well as architectural models, and a diverse programme of temporary exhibitions and events.

Hand and Machine. Architectural drawings includes illustrations and drawings by around 40 Norwegian and international architectural firms, all with a common denominator: a critical attitude towards "the aesthetics borne from a computer." Here, the architects employ the innate freedom of the traditional (read: conventional, old school) methods and styles of expression that genuinely defined and permeated the praxis for a weighty period, further fine-tuned through digital tools and distributed through social media channels such as Instagram. Moreover, the design exhibition is accompanied by three installations by architectural offices LCLA, Sostra100, and Secretary, which investigate the role of drawings in the architectural disciplineand of architecture in society, the museum asserts.

"The exhibition takes as its starting point, an interest in architectural drawings, and how they act both as a way to communicate and as a place for architects to develop new ideas and thoughts. We were interested in what tendencies we could find in [these] drawings, and we found a lot, Skajaa indicates. Not only did it emphasise how architects work critically with their own tools, but also, approaches to other societal topics such as politics, economics and the climate crisis can be read in the drawings, he adds.

Expounding on the intent behind selecting and showcasing architectural drawings from this particular period of 15 years (20082023), Skajaa explains, We wanted to make an exhibition about contemporary architecture that discussed how architects are working today, as well as the tools they employ. All displayed works are made in the period between 2008 and 2023 and relate to computer aesthetics in critical manners and perspectives. Many have a seemingly hand-drawn and analogue look, that stands in strong contrast to the rendered architectural drawings that were prevalent in the early 2000s. In the exhibition, we trace this turn to the financial crisis in 2008, a global event that left many architects without work. For many architects, the aftermath of the 2008 crisis was a time for reflection, reaction, and experimentation, with new forms of working and implementing, and we looked at how this was expressed in their drawings.

The curator was also led by a quest to understand these perceptions, about this period especially, and how they consequently reflected in the drawings. That could primarily be a question of aesthetics, but just as much as a question of methodology. Of course, it then became a starting point for a larger discussion about the architects' role in society. What kind of buildings should they build, and for whom, with what materials... Important questions that are not answered in the exhibition, but it is possible to see the questions appear in the drawings themselves, says Skajaa.

Participants included Atelier Adam Nathaniel Furman, Dyvik Kahlen Architects, Gartnerfuglen Arkitekter, Hesselbrand, Sam Jacob, LCLA OFFICE, OMMX, Point Supreme, Philipp Schaerer, Vardehaugen & Arkitekt, and moreoffices and creative individuals with varied experiences and specialitiessome established, successful ones with serious built work across typologies and scales, while others who are emerging, young, inexperienced in comparison yet brimming with promise, operating from more conceptual liminalities. It is really, the format of the drawing, common to all architects, that makes it possible to show them all together in one exhibition, Skajaa relays.

Through Hand and Machine. Architectural drawings, the exhibited entities reveal a more tangible expression, which is more or less, a hybrid of the analogue and digital. According to Skajaa, most have in some way lived in the computer or other digital environments, and therefore, it did not make sense to instil a rigid parameter separating the two within the exhibition design (which is carried out by Kellenberger-White, who also conceived its graphic design identity).

The quantitative, titan, and diagnosed shift in the way digital technologies and digital tools furthered the architectural discipline, reforming the very culture and manner in which it is practised, is not solely happenstance. Now, it is unfathomable to conceive projects without the intervention of said technologies, a consequential component of innovation, a natural growth. Vis a vis Hand and Machine, a line of query presents itself, wherein the significance of manual drawings is not necessarily pitted against digitally generated ones, but is instead, revealed and examined as something that was a lived reality mere years ago and which finds imprints now, intentional and otherwise, in an evolved, crossbred, and ubiquitous form. In tandem, it also implores a lean towards the practised, authentic, and unique human skill of drawing by hand, of image-making and in essence, of storytelling, enabled by community and proper engagement, bound by hand, ink, and paper.

Hand and Machine. Architectural Drawings is on view till March 31, 2024, at the Light Hall, National Museum of Art, Architecture and Design in Norway.

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With 'Hand and Machine,' architects revert to analogue forms of expression - STIRworld

Paying Tribute to the Influential Architects We Have Lost in 2023

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As we step into the new year, we take a moment to reflect on the lasting impact of celebrated architects, designers, and curators who passed away in 2023. This past year witnessed the departure of influential figures who, through their talent and dedication, left an indelible mark on the built environment. Some embarked on their careers with bold gestures that reshaped architectural paradigms, while others worked quietly, placing a profound focus on the human experience or the invisible figures of out profession.

This reflective pause allows us to acknowledge the enduring legacy of personalities such as India's first Pritzker Prize Laureate, Balkrishna Doshi, the tireless womens rights advocate Beverly Willis, the first curator of the Venice Architecture Biennale, Paolo Portoghesi, writer, critic and curator Jean-Louis Cohen, and many more.

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Read on to explore the work and enduring influence of celebrated architects who have passed away during the past year.

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It seems I should take an oath and remember it for my lifetime: to provide the lowest class with the proper dwelling. - Balkrishna Doshi

The first Indian architect to become a Pritzker Prize Laureate, Balkrishna Doshi is celebrated worldwide as a pioneer of Indian modernism, driving functionality from a joyful and humanistic approach to building, and inspiring generations of young practitioners with words of wisdom reflecting the timelessness of his structures. His professional career began as a mentee of Le Corbusier, followed by a collaboration with Louis Kahn, whom Doshi invited to design the Indian Institute of Management in Ahmedabad. These international collaborations strengthened Indias emerging status as a laboratory of Modernism. But Doshis influence went beyond this. As an educator and visionary, he understood architecture as a celebration of life, integrating the hopes and needs of Indians from all classes with a deep respect for history and traditions, and imagination for building opportunities for enjoyable moments, he paved the way for the evolution of contemporary Indian architecture.

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Architecture is not simply an artistic endeavor, or a mere technical or organizational challenge, it is a social practice with a significant impact on the collective environment far beyond the effects of its initial visualization. It is this responsibility towards the environment that defines the profession's scope of competence. - Rafael Violy

Uruguayan-born and New York-based architect Rafael Violy Beceiro was known for his bold designs which often became recognizable landmarks in their cities skyline. From the unusually shaped and controversial 20 Fenchurch Tower in London to the Tokyo International Forum, the new Carrasco Airport in Montevideo or the super-thin 432 Park Avenue in New York City, Violys works address a wide range of scales, uses, and themes, leaving behind a legacy of over 600 structures around the world.

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Its kind of ludicrous to say commercial architecture in itself is not worth our best efforts, because what, in fact, influences the life of the average person in our urban areas more than commercial architecture? Cities are made up of commercial buildings. Designing quality architecture for commercial buildings is the contribution we intend to make. - Eugene Kohn

Eugene Kohn co-founded Kohn Pedersen Fox Associates (KPF) in 1976, along with partners William Pedersen and Sheldon Fox, helping to shape it into one of the most impactful architectural practices worldwide. He gained recognition for his ability to foster agreement between designers and developers, developing innovative solutions at the interplay of architecture and commerce. As an educator, he shared his knowledge through teaching roles at Harvard, Columbia, and his alma mater, the University of Pennsylvania.

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If you look at just carbon emissions, what we do for a livingbuilding buildings, running buildings, all that is 50 percent of all the carbon emissions in the United States. [] Well thats both sort of dreadful and wonderful at the same time. [] The opportunity is, because its so concentrated, a relatively smaller group of people can do something about it. - Bill Hellmuth

William (Bill) Hellmuth became president and CEO of the internationally recognized architecture office HOK, a tenure during which he helped shape the offices profile, combining innovation and influence. For his colleagues, Hellmuth was known as a hands-on leader, contributing to notable projects globally while remaining eagerly engaged with his team. An advocate for sustainable design, he led HOK's efforts in green-certified projects and fostered pro-bono initiatives. Beyond architecture, Hellmuth prioritized mentorship, career advancement, and charitable contributions, rounding up a career that will be remembered for his optimism and dedication to improving peoples lives.

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My design philosophy is nature. Understanding the forms of nature. The shape that we give to the material of architecture completely summarizes its functionality, aesthetics and its symbolic message. However these forms of nature cannot be imitated, they must be understood. - Paolo Portoghesi

Italian architect Paolo Portoghesi was the first director of the Venice Architecture Biennale. In 1980, Portoghesi curated "The Presence of the Past," the first International Architecture Exhibition, featuring renowned architects like Frank Gehry and Rem Koolhaas. He later served as President of the Biennale until 1992. Notable architectural works include the Papanice House (1968), the Mosque and Islamic Cultural Center in Rome (1984-1995), the Renaissance district in Parco Talenti (2001), and the Strasbourg Mosque (2012). An esteemed academic, he taught the history of criticism and served as dean at Milan Polytechnic.

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I have never met someone so focused, so productive, so relentless in his search for architecture, publishing more than fifty books and curating so many key exhibitions. Beatriz Colomina on Jean-Louis Cohen

Architect, critic, and curator Jean-Louis Cohen, aged 74, passed away on August 7. As the Sheldon H. Solow Chair of Architectural History at NYU since 1994, Cohen curated prestigious exhibitions worldwide. His extensive literary contributions include books such as "Building a New New World" (2020) and "Le Corbusier: An Atlas of Modern Landscapes" (2013). Cohen also led the development of the Cit de l'Architecture et du Patrimoine in Paris, which opened in 2007, and curated influential exhibitions like "The Lost Vanguard" (2007) and the French Pavilion at the 2014 Venice Biennale.

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Architecture has to be humane, and its intent the pursuit of true ideals, of true democracy, of equality, and of inclusion of all people. - Raymond Moriyama

Canadian architect Raymond Moriyama, co-founder of Moriyama Teshima Architects is the designer behind some of Canadas most influential buildings. Renowned for structures such as the Canadian War Museum, Ontario Science Center, and the Canadian Embassy in Tokyo, Moriyama focused on creating humane buildings reflecting ideals of democracy, equality, and inclusivity.

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I am an artist, after all. You know, real art and real architecture cannot be totally legal; very often, both are in direct conflict with legality. - Zvi Hecker

Polish-Israeli architect Zvi Hecker has become recognized for his geometric, modular, and yet asymmetric designs, often drawing inspiration from the patterns of sunflower seeds. His notable works include the Spiral Apartment House in Ramat Gan (19811989), Heinz-Galinski-Schule in Berlin (19921995), and a crystal-like Synagogue in the Negev Desert (1969). Hecker's impactful career spanned architecture, painting, illustration, and furniture design.

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I think its important to try to break out of that bubble. Architects should be reaching out in every way possible to the general public. Because right now the profession basically talks to themselves. - Beverly Willis

American architect and gender equality advocate Beverly Willis has dedicated her career to breaking gender barriers in architecture and creating space for women in a traditionally male-dominated profession. The question Can you name five female architects? became a sort of motto for her endeavors, as she noticed that most had difficulties naming even a couple. To address this, created a Foundation to promote and recognize female practitioners. She also led a successful studio in San Francisco, completing over 800 projects nationwide. Across programs and scales, her designs promoted a humanistic concern for the occupant and favored the adaptive reuse of historical structures.

He is a giant of radical thought on human spaces, a sophisticated historian of Italian design, a visionary artist capable of ironically inhabiting other universes and parallel worlds. Stefano Boeri

Italian designer and architect Andrea Branzi, co-founded Archizoon Associati, leaving an indelible mark on contemporary design. His iconic Superonda Sofa showcased his commitment to reimagining ergonomic relationships with objects. The No-Stop-City project challenged traditional urban design, envisioning the city as an ever-expanding grid. As a design philosopher, Branzi fused industrial design with natural elements, explored various mediums, and showcased his versatility in exhibitions such as "Architecture Belongs to the Theater."

This article is part of the ArchDaily Topics: Year in Review, presented by Randers Tegl.

"When creating unique architecture, visionary ideas arent always enough. A unique look demands character, courage, and distinctive materials. And a format to achieve the extraordinary. At Randers Tegl, we aim to add a unique touch to exceptional brickworks by bringing premium bricks to life and into the world of architecture. Making the impossible possible. We are proud to be a part of unique architecture worldwide since 1911."

Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us.

Excerpt from:
Paying Tribute to the Influential Architects We Have Lost in 2023 - ArchDaily

We've selected five opportunities for architects at international design practices that are available on Dezeen Jobs this week, including positions at Rapt Studio,Ippolito Fleitz Group andStarck Network Agency.

Senior designer at Rapt Studio in San Francisco, USA

Rapt Studio is seeking a senior designer in interior design and architecture to deliver projects through all work stages in San Francisco, USA.

The design agency decorated the interior of lifestyle and wellness brand Goop's headquarters in Santa Monica, which featurescurved furnishings and soft colours.

View more roles in the US

Furniture/industrial designer at Starck Network Agency in Paris, France

Starck Network Agency is recruiting a furniture and industrial designer to join its Paris studio.

Led by French designer Philippe Starck, the studio created a futuristic hydrogen refuelling station with a mirror-polished stainless-steel casing and colour-changing dichroic glass.

View more roles in Paris

Junior architect and intern at Atelier Srgio Rebelo in Porto, Portugal

Atelier Srgio Rebelo is offering opportunities for young architects who have an interest in design to join its team in Porto, Portugal.

Strong conceptual design skills and proficiency in design visualisation software are essential assets for this role.

View more roles in Portugal

Materials and FF&E specialist at Ippolito Fleitz Group inStuttgart, Germany

Stuttgart-based studio Ippolito Fleitz Group is hiring a materials and FF&E specialist to work on diverse and multidisciplinary projects with its international team.

Launched by the studio with Object Carpet, one of the studio's flooring collections features a variety of textures and colours, which aim to offer the flexibility to be customised for various interior settings.

View more roles in Germany

Architect in residence at University of Canterbury in in Christchurch, New Zealand

A vacancy for an architect has opened at the University of Canterbury, which focuses on improving collaboration between architects, and engineers.

This role provides opportunities to teach at an international university and develop multidisciplinary research in architecture and design.

View more roles in New Zealand

See all the latest architecture and design roles on Dezeen Jobs

Continued here:
Five international work opportunities for architects and designers - Dezeen

Open this photo in gallery:

The new renovation of Buffalos AKG one of the best art museums in North America is a fine example of creative architecture for public space. In the courtyard, light filters through a lattice of white steel, and triangular mirrors that reflect a pale marble floor.Handout

The sun filtered down through a lattice of white steel, dancing through triangular mirrors that reflected a pale marble floor. I was in the courtyard of the Buffalo AKG Art Museum in upstate New York, standing under a work of art that serves as both a roof and part of the gallerys collection.

Common Sky by artist Olafur Eliasson and architect Sebastian Behmann is one of the most surprising bits of the new museum, formerly the Albright-Knox, which reopened this summer after a three-year rebuild. Architect Shohei Shigematsu of OMA added a new wing to the complex, and reshuffled the interiors of two existing buildings from 1905 and 1962.

Now the gallery has a campus worthy of its incredible collection. It scrambles some familiar binaries of architecture: new versus old, closed versus open, practical versus whimsical, polite versus radical. It is, improbably, brilliant.

The museum is a two-hour drive from Toronto, and if you make that trip you will begin your visit in a new underground garage. From there you climb a spiral ramp into the Gundlach Building, a three-storey new addition by OMA. The first artistic offering, a rich Clyfford Still survey, begins just past the reception desk, in a double-height gallery that is packed with paintings and has a broad south-facing window.

This place is immediately understandable as a museum, because the first thing you see is art, Mr. Shigematsu said. At the same time, there is this connection between inside and outside, which symbolizes a radical transparency between the museum and the city around it.

The new building contains the majority of the exhibition space and its galleries high-ceilinged white boxes punctuated by oversized marble doorways serve contemporary art well.Handout

In Buffalo, this impulse clearly make sense. From the Gundlach Building you can see the museums two previous wings: a 1905 Beaux-Arts stone temple and a 1962 addition by Gordon Bunshaft in black steel. Both rest on a plinth of white marble. Both are beautiful but very opaque, as the museums director, Janne Sirn, said.

We wanted a museum that is of the people and for the people, Mr. Sirn added. For a museum to be that, you need to collapse the notion of the museum as a castle on a hill.

The new building has the bulk of the exhibition space, and its galleries high-ceilinged white boxes punctuated by oversized marble doorways serve contemporary art well. Large canvases (including a suite of Anselm Kiefers) and installation works sit well here.

These galleries are surrounded by broad corridors, the largest on the second floor, which provide generous breathing space between rooms, and allow visitors to linger and take their time, or get a coffee.

From there you move across a glassed-in second-storey pedestrian bridge, which slaloms around a copse of trees. This dose of light and landscape prepares you for the quieter atmosphere of the 1905 Wilmers Building. The AKG has hung much of their great 20th-century art holdings here: a double-sided Kurt Schwitters here, a lucent Frankenthaler and a Rothko hanging companionably in a side room.

For the renovations to the gallery, architect Shohei Shigematsu of OMA added a new wing to the complex, and reshuffled the interiors of two existing buildings from 1905 and 1962.Handout

It all makes sense, and it all works. While that swooping glass bridge gives a frisson, the project has an air of rationality much like Mr. Shigematsus 2016 remake of the Muse national des beaux-arts du Qubec.

OMA began as a group of architectural provocateurs, led by Rem Koolhaas, whose work has often subverted the self-serious tradition of modern architecture. If there is such a twist at the AKG, it lies in the renovation of the 1962 Knox Building, which now houses Common Sky. This was designed by Gordon Bunshaft, a major figure in 20th-century American architecture.

OMA has reinvented this cloister-like structure, changing the courtyard from an outdoor to an indoor space, and removing art from the adjacent galleries. Bunshafts building has been reduced in stature to house a gift shop. Are the architects attacking the whims of the previous generation? Or are they just serving the public?

The courtyard is unticketed, a place for Buffalonians and visitors to gather and to move freely, as Mr. Siren puts it. I saw the museums very diverse crowd do just that: a young man working on his laptop, a couple having coffee, a woman settling in with a novel.

This was not a temple of high art, nor was it a pure modernist cloister cut off from the world. It was something else something meaningful and bright.

Read more here:
Architects OMA reinvent the art museum in Buffalo - The Globe and Mail

January 4, 2024, 5:14 AM HST * Updated January 4, 5:15 AM

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In the wake of the devastating wildfires that swept through Maui, leaving thousands of residents displaced, efforts to find immediate housing accommodations for survivors has been top of mind. Recent efforts have focused on the need to transition displaced residents from temporary hotel shelters into long-term housing solutions.

Known for his relief work around the world, renowned Pritzker-Prize-winning architect Shigeru Ban of Japan came to Maui to build a prototype of his sustainable temporary housing solution. His one-of-a-kind, unique engineering utilizes paper tubes as a structural system.

This initiative was unveiled on Maui when volunteer students, alongside Shigeru Ban, journeyed from Japan the Valley Isle from Dec. 4-7. They joined forces with Hawaii Off Grids team and students from University of Hawaii at Mnoa School of Architecture to assemble the prototype at the Pia Rinzai Zen Mission.

The objective is to replicate this prototype in West Maui, offering an eco-friendly, mid-term housing solution to those affected by the wildfires. Ban and his Volunteer Architects Network have constructed similar structures in disaster-stricken regions.

The goal of Bans Paper Log House Project is to provide an affordable and sustainable housing solution for those displaced by the Maui wildfires to help rebuild the community.

We are so grateful to Shigeru Ban and the Volunteer Architects Network to inspire and remind us of the compassion and creativity that architecture and architects can provide to our communities, said David Sellers, Principal Architect of Hawaii Off Grid, and key collaborator on the Paper Log House Project.

Continued here:
Architect Shigeru Ban of Japan visits Maui to offer sustainable housing option in wake of wildfire - Maui Now

mad architects unveils nanhai art center

Emerging from the lake like a glistening ripple of water, MAD Architects unveils designs for its Nanhai Art Center in the heart of the Guangdong-Hong Kong-Macao Greater Bay Area. The dynamic cultural hub, bridging the Grand Theater, the Museum, and the Sports Center under a floating sun canopy with surrounding public spaces, sits in dialogue with its natural surroundings as its design infuses elements that capture the humble spirit of Southern Guangdong alongside Nanhais traditional culture.

With construction set to start in 2024, it will redefine the urban waterfront experience on both sides of the river upon completion in 2029, and provide local communities with a new public gateway embedded with diverse services, recreational activities, and shopping experiences. Lead architect Ma Yansong notes: The large overhangs of traditional southern Guangdong architecture and the gray space that provides shade, rain, and ventilation are all sources of inspiration for the art center. The architectural space suitable for the natural climate and the application of new green technologies are trying to explore a model of contemporary Lingnan architecture.

all images courtesy of MAD Architects

Departing from the conventional image of a solitary and static sculptural object, the team at MAD Architects proposes a vibrant epicenter for community engagement, inviting the public to participate in a lifestyle immersed in culture. The Grand Theater brings together immersive spaces including a 1,500-seat main theatre and a 600-seat multi-purpose hall both designed to accommodate the needs of various dynamic performing arts, conferences, and experiences. The upcoming National Museum hosts an array of comprehensive exhibits, inviting exploration, education, and discovery to help strengthen the local and global community, while the Sports Center includes leisure, recreation, and fitness amenities including swimming pools, basketball, and badminton courts.

Situated in the Nanhai Cultural District, flanked by the Foshan Waterway to its south and the Qiandeng Lake Park to the north, the Nanhai Art Centers design is centered around its encompassing bodies of water, creating a visual corridor that connects the three venues. The two-level landscape platform extends outward, organically linking the central lake, riverside park, and the urban space, weaving nature and architecture.

A 7-meter-high elevated landscape platform on the second floor weaves the three main venues together and serves as a multifaceted approach to the sites connectivity. The elevated landscape serves a dual purpose; beneath it, the first-floor commercial services integrate, efficiently managing public parking and logistical operations. Above, an expansive pedestrian realm leads visitors directly to the main entrances of the Grand Museum and Sports Center.

Nanhai Art Center sits in the heart of the Guangdong-Hong Kong-Macao Greater Bay Area

MAD Architects design establishes a central axis of urban space a continuous belt that includes the City Observation Deck, Sunken Plaza, Open-air Theater, Lake Platform, and the Climbing Cloud Corridor. This axis integrates with a cultural water park on the eastern side of the site, creating a cohesive and immersive experiential environment for visitors.

Additionally, sustainability and green carbon reduction features have been integrated under the translucent white ETFE membrane structure roof. Throughout, the Nanhai Art Center utilizes energy-saving and environmentally friendly technologies, including photovoltaic power generation, rainwater collection and irrigation, and vertical greening systems.

its undulating form sits in dialogue with the natural environment

flanked by the Foshan Waterway to its south and the Qiandeng Lake Park to the north

the dynamic cultural hub bridges the Grand Theater, the Museum, and the Sports Center

a translucent white ETFE membrane structure roof

a new public gateway embedded with recreational activities and shopping experiences

a 7-meter-high elevated landscape platform on the second floor weaves the three main venues together

the landscape platform extends outward, linking the central lake, riverside park, and the urban space

Read more here:
MAD architects' nanhai art center in china emerges from the lake like endless ripple of water - Designboom