Thesis Design Project / Do Androids Dream of Eclectic Scenes

DO MACHINES DREAM OF ECLECTIC SCENES? HUMAN/MACHINE HYPER-LANGUAGE AND POSTHUMAN ARCHITECTURAL DESIGN At a time where cognitive machines are becoming increasingly ubiquitous, the hope of this project is to introduce a novel culture of communication and collaboration with artificial intelligence to discover new meaning in posthuman architectural design. This project explores the hyper-real nature of communicating with machines. Through a series of evolving discussions between architect and machine, a food festival architecture is designed in the hyperspace between the imagination of the architect and the dreams of artificial intelligence. Utilising algorithmic image making and semantic form-finding an exploration of consciousness, meglanguage and semiotics is carried out to define a series of speculative architectural vignettes. Meglanguage - ”When using a meglanguage, one is able to grasp meanings that exist in-between and outside of routine conceptualisation. This not-knowing-what-the-fuck-it-is-you’re-talking-about is a way of escaping concept traps. It’s a way of following gravity into the gaps, a way of meeting the muse. In that way it is an art language. There is no need to ‘prove’ its reality or its falseness. Meglanguage is there to propel us into new configurations so that we can create. Understanding is important, but it is not the goal. The goal is to invent new configurations.” Allado-McDowell, K., 2020. Pharmako-AI. Ignota, p.72.

Jeffrey Bray U14 ARCT1059

NEURAL NETWORKS:

GENERATIVE ADVERSARIAL NETWORKS

A Generative Adversarial Network (GAN) is a neural network that outputs realistic simulated images based on an original true training dataset. GANs are comprised of 2 competing networks, a generator and a discriminator that learn from one another. Over many learning cycles and with feedback from the discriminator, the generator learns how to trick the discriminator into categorising the fake data as part of the true dataset. Once fully trained GANs are able to create images that fool even humans please see https://thispersondoesnotexist.com which generates new faces every time you load the page. The generator’s purpose is to generate new data as close to the true dataset as possible to fool the discriminator. The discriminator’s purpose is to evaluate the input against the true dataset to determine if the input is true or false. IMAGES: Below: GAN flow chart. Middle: Process of GAN learning - resolution over epochs. Right: Dataset of 30,000 images of real celebrities used to train Nvidia’s GAN to produce images of new celebrities. These are novel images created by the GAN of people that do not exist.

AI & 3D:

GENERATING 3 DIMENSIONAL DATA FROM 2D EXTRAPOLATION

In 2020 Google AI challenged AI developers to use the public 2d data on Google earth/maps and Google images which are added to by users everyday to develop 3d models of famous landmarks using neural networks, machine learning in a process called structure from motion This process recognises features across multiple 2d images and uses triangulation to extrapolate the 3d location of all pixels in the image. This method is already used by Google to create the 3d models used for Google earth/maps however this is based on carefully curated images taken by high-quality cameras in a specific way by the street view mobile camera units and satellite imagery. The challenging aspect of this task is to train the network to ignore transient feature such as crowds and to make allowance for differing image quality, light levels etc. With neural networks that can take the vast resource of digital photography freely available on the internet it may be possible to categorise and model the global architecture scene in 3d. How does AI understand these places when the data is not as well formatted at Google street view images, does it understand time and three dimensions and the rules of the universe?

Visualisation of network triangulating points in latent space across multiple 2d images of St Paul’s Cathedral from different angles

2d images are collected from Google images and Google maps users of Trevi Fountain to form a dataset of thousands of images from different angles

Reconstructed 3d model of Trevi fountain extrapolated by the network from crowd sourced 2 dimensional images

DATASCRAPING:

COLLECTING DATA USING ALGORITHMS

Using the data scraping python script below 795 images were downloaded autonomously from Google images from the search term “monastery”. Below is the uncurated dataset; note that there are inappropriate images, images are of differing sizes & some images are completely irrelevant.

from selenium import webdriver from selenium.webdriver.common.keys import Keys time import sleep import requests import io import os import PIL import hashlib from PIL import Image driver = webdriver.Chrome('E://dataScraping/chromedriver') def fetch_image_urls(query:str, max_links_to_fetch:int, wd:webdriver, sleep_between_interactions:int=1): def scroll_to_end(wd): wd.execute_script("window.scrollTo(0, document.body.scrollHeight);") sleep(sleep_between_interactions) # build the Google query search_url = "https://www.Google.com/search?safe=off&site=&tbm=isch&source=hp&q={q}&oq={q}&gs_l=img" # load the page wd.get(search_url.format(q=query)) image_urls = set() image_count = 0 results_start = 0 while image_count < max_links_to_fetch: scroll_to_end(wd) # get all image thumbnail results thumbnail_results = wd.find_elements_by_css_selector("img.Q4LuWd") number_results = len(thumbnail_results) print(f"Found: {number_results} search results. Extracting links from {results_start}:{number_results}") for img in thumbnail_results[results_start:number_results]: # try to click every thumbnail such that we can get the real image behind it try: img.click() sleep(sleep_between_interactions) except Exception: continue # extract image urls actual_images = wd.find_elements_by_css_selector('img.n3VNCb') for actual_image in actual_images: if actual_image.get_attribute('src') and 'http' in actual_image.get_attribute('src'): image_urls.add(actual_image.get_attribute('src')) image_count = len(image_urls) if len(image_urls) >= max_links_to_fetch: print(f"Found: {len(image_urls)} image links, done!") break # move the result startpoint further down results_start = len(image_urls) return image_urls

def persist_image(folder_path:str,url:str): try: image_content = requests.get(url).content except Exception as e: print(f"ERROR - Could not download {url} - {e}") try:

image_file = io.BytesIO(image_content) image = Image.open(image_file).convert('RGB') file_path = os.path.join(folder_path,hashlib.sha1(image_content).hexdigest()[:10] + '.jpg') with open(file_path, 'wb') as f: image.save(f, "JPEG", quality=85) print(f"SUCCESS - saved {url} - as {file_path}") except Exception as e: print(f"ERROR - Could not save {url} - {e}") def snd(search_term:str,number_images=5): target_folder = os.path.join('E://dataScraping/images','_'.join(search_term.lower().split(' '))) if not os.path.exists(target_folder): os.makedirs(target_folder) with driver as wd: res = fetch_image_urls(search_term, number_images, wd=driver, sleep_between_interactions=0.5) for elem in res: persist_image(target_folder,elem)

TRAINING DATASETS:

CURATING DATA FOR TRAINING

To train the AI ‘gene’ to produce images of monasteries the dataset is curated by the designer to include specific images that define the ‘gene’ Images are resized and cropped to the same size and ratio 250px 1:1 in this case to make the training more stable and then sorted into discarded and inappropriate images that may be used for a related ‘gene’. In this case only 32.1% of the image are chosen by the designer to form the training dataset. In this example that is only 255 images, in reality its takes millions of images to train a robust ‘gene’. At this yield a 1 million image training dataset would require the sorting of 3.1 million uncurated images. At 5 seconds per image that is approx 4,000 ‘man hours’ or 500 working ‘man days’_ Discarded Images (64.3% of uncurated dataset)

Images that could be used to train a gene for monastery interiors (3.6% of uncurated dataset)

Images to form the training dataset for the monastery gene (32.1% of uncurated dataset)

Images created by AI trained using the curated dataset

gene2.child4

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DESIGNER AS GARDENER:

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ARTBREEDER.COM AND WILLIAM LATHAM

William Latham describes his art practice in which he works with computers in a development process similar to that as Darwin’s evolution. He describes the process as a gardener breeding plants through aesthetic selection, the importance of the human in this system is our ability to make purely aesthetic judgements.

gene2.SKIMASK

gene4.FACEMASK

gene2.child2

“the artist [becomes] like a gardener interacting with the computer, steering through a vast evolutionary space of possibilities” (Latham, 2015)

gene4.child2

combination of genes(1,2,3,4)

Using the Artbreeder web app we are able to use semiotic concepts as images as shown on this page. These can be mixed or bred to make new images that are novel combinations of the concepts whose vectors are understood only by the AI, we can only understand and communicate with the AI via hyper-language and visual semantics guided by aesthetic preference.

gene2.child1 gene4.child1

gene3.child5

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gene1.GASMASK

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DESIGNER AS GARDENER: ARTBREEDER DESIGN EVOLUTION

Using the Artbreeder web app we are able to input choose a set of concepts to build the genetics of the parent images that will be used to breed together and evolve through generations of image generation from a set of genetic information (children). This is a heuristic process of interactive interplay where inspiration comes from novel information generated by the AI and the imagination of the architect inspires the AI through aesthetic choices made. Having spent hundreds of hours working with this app a relationship has been formed and a hyper-language has made itself apparent. The AI has altered the way I think, instead of thinking if images traditionally I think in concepts, I think this castle needs more jellyfish gene because it is not colourful enough or there is too much butchers shop in this palace image because there is too much verticality.

Evolution and Crossbreeding

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AI Reference Image

CAACYK DATA TREATMENT WORKS: INSPIRATION TO ARCHITECTURE

Once a reference image has been developed using the artbreeder app we can then model the image as we see it. Each architect will see their own architecture in every image because they are not clear definite images there is a lot of room for interpretation. This is where a ludic aspect comes into play and the power of the human is realised. With brief in mind the architect is able to draw a scheme from the images gaining inspiration from not just the image but learning from the process of developing the images. These images are part of the Caacyk Data Curation Centre Project where data nomads curate clean datasets to combat AI dictatorship and train unbiased AI systems.

PAREIDOLIA: VISUAL REINTERPRETATIONS OF GIUSEPPE ARCIMBOLDO In his paintings Giuseppe Arcimboldo uses smaller object such as food items to create the appearance of a larger object in this case people. This is possible because of the psychological phenomenon called pareidolia in which we have a tendency to see random stimulus as significant and recognised objects such as animals in clouds and faces in the moon. Although these painting were created in the 16th Century they have a renewed relevance due to the invention of machine vision and in particular Generative Adversarial Networks, which are able to ‘see’ into patterns in images objects that are not there in the same way we do as humans.

PAREIDOLIA:

VISUAL REINTERPRETATIONS OF SOFIA CRESPO & AI

In this work a generative adversarial network is the creator of new biological creatures using a dataset designed by Sofia Crespo. These works show how the AI has reinterpreted the data in a frankenstienian manner with yet no recognisable or distinguishable separate pieces. “Our visual cortex recognizes the textures, but the brain is simultaneously aware that those elements don’t belong to any arrangement of reality that it has access to.” Crespo 2020. This is possible because we are able to see into the patterns that AI has represented and recognise these as a larger object such as an insect, just as we see a human in Giuseppe Arcimboldo’s pareidolic portraits.

Beetle / Insect

Jellyfish / Crustacean / Cephalopod

Mammalian

PAREIDOLIC DAYDREAMS:

OF MARK WEST

Mark West uses a technique which looks past the symbolism of objects and their labels and reveals a representation of a world view at a higher fidelity than traditional architectural drawing. He starts with collaged photos and begins drawing detail into the images revealing connections between discontinuous parts by taking advantage of pareidolia, the same innate perceptual mechanism that enables us to ‘see’ things in clouds. This same technique is used by the surrealist project to reveal the subconscious mind of the creator. The process begins with a base collage that influences the first marks, as the creator draws, and changes the image, the visual cues are altered revealing more pareidolic connections within the creator’s subconscious. However there is a genetic semblance maintained from the underlying base collage. This is a similar process to the modelling process from AI inspirational image to model.

PAREIDOLIC DAYDREAMS:

OF ELECTRIC MACHINES

Using the Deepdream inception algorithm it is possible to ask the network to “daydream” into random images of noise. The process is similar to the phenomena of pareidolia, the algorithm starts by finding edges and patterns and fills in the rest with its existing dataset of trained images. This is recursive as the human viewing the Deepdream images then daydreams into the image. Their brain picks out shapes and forms from their own memory of lived experiences. This interaction creates a hyper-space shared by AI and the viewer in which a new world can be explored.

MISUNDERSTANDINGS IN AI GENERATED ART: ROBBIE BARRAT AI artist Robbie Barrat trained a neural network from 20,000 images of classic nude paintings to create novel nude portraits from AI. The AI failed to learn all of the human features found in the original images and instead it generates surreal blobs of flesh with strange faces and tentacle like arms, reminiscent of human form These images are recognisable yet disturbing, they provoke a feeling of disgust similar to the feelings attributed to experiencing the uncanny valley. “Is this how machines see people?” Barrat - If this is how AI sees images how does it see architecture?

LAND OF COCKAYGNE: MEDIEVAL PEASANT’S MISCOMMUNICATED PARADISE OF PLENTY The Land of Cockaygne / Cockaygne was a widely known utopian dream land of European medieval peasants. The land was a fantastical imaginary place that existed in the collective minds of the culture of the time. Recurring themes of the utopia clearly reflect the vice of the times. Sloth and gluttony are depicted as virtues in medieval utopia, pre-cooked birds fly directly into your mouth, roasted pigs walk around ready to eat and inhabitants are paid to sleep. An interesting sociopolitical aspect of this utopia is that historians are unsure if the peasants of the time knew about cockainge; most accounts of the time were written and medieval peasants could not read. Historians believe cockaygne may instead be the ruling classes interpretation of a peasant’s utopia. Making incorrect assumptions about the wants and needs of the peasants in similar fashion to the AI making assumptions about recipes and misunderstanding our needs..

CUCCAGNA FESTIVALS:

NAPLES, ITALY C18TH Cuccagna festivals brought the land of Cockaygne to life and were built for royal event such as weddings and royal births. They were 1:1 architectural food monuments created in plazas across Italy, particularly in Naples. The monuments were constructed and decorated with food with livestock roaming freely. While the land of Cockaygne was a paradise for the peasants the Cuccagna festivals were statements of power and riches set up for the entertainment of the upper class. The royals and their guests would watch from their palace balconies after extravagant meals as the starving mobs of poor commoners would desperately ravage the monuments sometimes killing each other in the pursuit of sustenance. This whole tradition was the result of miscommunication between classes and what was assumed by the rich to be paradise was in fact a hellish reality for the common people.

SITE RESEARCH AND LOCATION: PIAZZA DEL PLEBISCITO

PIAZZA DEL PLEBISCITO:

LOCATING THE SITE FROM ETCHINGS

The project will be sited on the site of the most renowned and well accounted Cuccagna festival on record, in 1722 on the Piazza Del Plebiscito (translated as “Square of the common people”) outside the Royal Palace of Naples.

Palazzo della prefettura

Palazzo Real Royal Palace

Palazzo Salerno

SITE LOCATION: PIAZZA DEL PLEBISCITO, NAPLES, ITALY Europe

Italy

Naples

San Ferdinando

PIAZZA DEL PLEBISCITO:

Piazza del Real Palazzo - Map of Naples 1826

PLACE OF THE COMMON PEOPLE - SITE

Piazza del Real Palazzo - Map of Naples 2020

Piazza del Plebiscito - Map of Naples 2020

PIAZZA DEL PLEBISCITO:

PLACE OF THE COMMON PEOPLE - SITE

This piazza in front of the Royal Palace of Naples is the location of the most extravagent cuccagna festivals held in Italy in the 17th and 18th century. The plaza is lined on 3 sides by palaces and the basilica San Francesco di Paola Naples to the South West.

ROYAL PALACE OF NAPLES

SAN FRANCESCO DI PAOLA NAPLES

ARCHITECTURAL ARTIFICIAL INTELLIGENCE:

TRAINING FROM TEXT AND GOOGLE IMAGES

DATA ETHICS: Using algorithms an architectural artificial intelligence was created and trained on a curated database. Due to limits of technology and design the database is limited and was not read by the author. Data sources - if AI were to learn from a resource online it has been assumed it would choose a platform such as Deezer for architectural text and Google for searching for images using text prompts as search terms. Human intervention - The author edited the images scraped from Google to remove the garbage, it is assumed that it would be possible to train an AI to do this automatically, however due to author intervention this AI is embedded with the authors aesthetic preferences. Not to mention the unknown ethics of the data sources. Given real world application of this process it is vital that personal biases (unless that is the intention as in this project), data sources and data ethics are carefully considered during the curation of datasets.

EDIBLE DEEZER TRAINING DATA: CULTURAL ARCHITECTURAL TEXT GENERATOR I used an algorithm to gather data from hundreds of deezer articles with the tag ‘cultural architecture’ and also text I gathered about cuccagna and food festivals. The data base is made up of over half a million words. I then added bookend markers <|start|> and <|end|> to each article so the AI would learn where the parcels of text begin and end to help contain the article subjects. This is just 10% of the training data. <|start|>Like the festivals themselves, the illustrated fete books from the time of Louis XIV were planned down to the smallest details. A talented team was brought together to produce the books and prints, including the artists Israel Silvestre, Jean Le Pautre. and François Chaveau, as well as the writers Félibien and Perrault. Possessed of both literary and historical skills, they were well trained on task, and on message for their roles. Félibien was the author of a multivolume biographical set on French artists, paralleling Giorgio Vasari’s Lives of the Artists from a century before, and among numerous titles, he also wrote guides to Versailles, describing the gardens and grottoes. Perrault was a member of the Académie française. He adapted Aesop’s fables into the new genre of fairy tales and wrote the text for the first of Louis XIV’s impressive series of illustrated festival books. Festiva ad capita (Festive figures: or. The Carousel), in 1662.<|end|> <|start|>The next Open House London documentary offers a glimpse of Neasden Temple, a place of worship in northwest London that was built using ancient Hindu texts and 26,000 pieces of stone. Filmed by Jim Stephenson, the documentary is one of nine videos that will feature on Dezeen throughout Open House London 2020 to shine a light on rarely published places in the capital. Neasden Temple, formally known as BAPS Shri Swaminarayan Mandir, opened in 1995 as the first traditional Hindu temple, or mandir, in Europe. Today it serves as both a place of worship and a centre for community outreach activities. The temple was built with over 5000 tonnes of Bulgarian limestone and Italian Carrara marble, hand-carved in India by 1500 artisans. The 26,000 pieces of finished stone carvings were then sent to the UK to be assembled on-site by more than 3000 volunteers, without any reinforcing iron or steel. In the video, tour guide and head monk Yogvivekdas Swami explains the story of the temple’s design, which was dictated by ancient texts called the Vastu Shastra. The Vastu Shastra, which translates as “science of architecture”, is a traditional Indian system of architecture that incorporates traditional Hindu beliefs and has informed the design of mandirs since 1500 BCE. This means every detail of the temple’s structure is intertwined with the traditions of the faith, beginning from the site selection right through to the final plans and materiality. “The Vastu Shastra refers to an architectural text, which gives details of each and every aspect of the mandir, all the way from laying the foundations, all the way from laying the foundations, all the way to the final dedication ceremony of the temple itself,” he explained. Elements of the temple are also designed to represent parts of God’s physical body, such as the kalash, a set of golden gilded urns, and overhead flags that symbolise the head and hair of God respectively. “Ancient Hindu builders envision the mandir not merely as a sacred structure, but as an actual form of God,” Swami concluded. “A mandir is such a place where architecture and art come together to provide a divine experience.” As media partner for Open House London, Dezeen is publishing a different video every day during the festival. The films form part of the event’s diverse programme for 2020, which has been curated in response to the coronavirus pandemic. Open House London takes place at venues across London and online from 19 to 27 September. Videos will be published on Dezeen each day during the festival. See Dezeen Events Guide for details of more architecture and design events. Project credits: Guide: Head monk Yogvivekdas SwamProducer: Nyima MurryVideographer: Jim Stephenson of Stephenson/BishopFilms<|end|> <|start|>The Church of Pope John Paul II in Páty, Hungary, is a crescent-shaped building featuring skewed angles and whitewashed concrete that aims to turn “passive observers” into active participants of worship. Local practice Robert Gutowski Architects filled the church in the village of Páty in Budapest with modern takes on traditional aspects of Medieval, ecclesiastical architecture. The intention was to shift the emphasis towards the altar and the congregation to make the act of worship more engaging. Traditional churches typically have a rectangular floor plan and are made up of a nave – the central part of the church – and an apse – the semicircular or polygonal area at the end of the aisle, usually located behind the altar. The Church of Pope John Paul II, however, has an elliptical layout, made up of the crescent-shaped building of worship that wraps around an adjoining oval-shaped outdoor space. Therefore what would typically be the nave of a conventional church functions as the churchyard or garden, while the liturgical space is situated where the apse would be. As studio founder Robert Gutowski explains, this layout was designed to place more emphasis on the communal experience of the Eucharist and to “invite people closer to the holy act” at the altar. “If you like, we invite people into the apse, surrounding the altar, forming a community,” the architect explained. “It is also similar to the liturgy of early times, when Paleochristians simply surrounded a table in their own home – what is known as Domus Ecclesiae.” “The church clearly defines its purpose: while the Creator and the almighty God are at the centre of traditional liturgy, modern liturgical efforts have shifted emphasis to the recreator God, the image of a perpetually redeeming Christ,” Gutowski added. “The Church of Pope John Paul II represents a conscious response to liturgical changes in recent decades, rendering it a model church experiment in contemporary church architecture,” he continued. “Emphasis is shifted toward the active involvement of worshippers.The community is not a passive observer of events in a sanctuary, but rather actively experiences the holy act.” Several rooms lead off of the central, liturgical space, including a communal room, a service room and an office on the ground floor, and an educational room, guest room, the priest’s living quarters, and access to the bell tower on the first floor. Each of these rooms are enclosed in one, whole elliptical floor plan – a form chosen to symbolise “perpetuity” and to create a holistic space. “The concept is that when we say ‘church’, this does not refer only to the part of the chapel, but rather to the whole community building in one singular form,” explained Gutowski. The two ellipses formed by the crescent-shaped church and the adjoining yard have been set at different axes. This is following the historically “inaccurate” layout of traditional churches, wherein the nave and the apse tend to be slightly off-centre of each other. “We cannot name one single church that sits on the same axis, because pretty much all of the historical churches in Europe have this tiny ‘mistake’, which actually became a symbol of the broken body of Christ,” added Gutowski. This symbol of Christ’s broken body has been extended to the church interior, which features walls set at slanted, uneven angles. The domed ceiling, made from reinforced concrete, is lined with spotlights that illuminate various sacral functions such as the area of the altar and surrounding alcoves filled with religious artworks. A rectangular cutout in the ceiling also fills the room with natural light, which is directed particularly at the centre towards the altar. While the majority of the interior has been painted white – bar the natural-wood pews – the altar is carved from a single block of deep green onyx stone, standing out from its surroundings to serve as the focal point of the space. The structure itself is symmetrical but every detail is asymmetrical, such as the alcoves. The altar is the only element that sits on the main axis of the building. Steps made of white Carrara marble lead up to the altar, which have trapezoid-shaped surfaces with rounded corners to allow gathering around the sanctuary space. The design and construction of The Church of Pope John Paul II was carried out with the help of the local community. The church was built mainly using donations, and was consecrated in 2019. The church has been shortlisted in the civic and cultural interior project category of this year’s Dezeen Awards. Other projects in this category include a crematorium in Belgium designed by Rotterdam-based studio Kaan Architecten, which is made up of one rectilinear volume made from blocks of unfinished concrete. A museum for children in Pittsburgh has also been shortlisted in the civic and cultural interior project category, which US firm KoningEizenberg Architecture renovated from the remains of a historic library that was struck by lightning. Project credits: Architect: Robert GutowskiDesign team Ákos Boczkó, Gáspár Bollók, Barnabás Dely-Steindl, Hunor László Kovács, István Kövér, Attila Révai, Béla Ákos SzokolayArtworks: Csaba Ozsvári, István Böjte HorváthLandscape design: Attila PállEngineering: Zoltán Klopka, András Lantos, Gáspár Sándor, Gellért Mérő, János MészárosPhotography: Tamás Bujnovszky<|end|> <|start|>A foldout etching by Lodovico Burnacini in the printed libretto for II pomo d’oro illustrates the scene of the Banquet of the Gods as it takes place on stage (fig. 6). The feast is at the palace of Jupiter amid an arched enclosure of clouds framed by an impressive display of silver plates and ums, as if this were an earthly dining space in a capacious hall decorated for the wedding dinner. The waitstaff are lively satyrs, who take their positions as if in a corps de ballet. These hooved, scantily dressed attendants proffer platters of pastry pies filled with large baked birds and roasts topped with trophies and birds’ heads in the manner of seventeenth-century grand dinners, Their platters are raised in a respectful gesture to the most eminent guests, who are seated facing the audience. A pleated cloth covers the central table. Several guests (a woman and a cupid) raise shallow glasses with delicate stems. Hebe, Ganymede, and a chorus of demigods serve the principal gods. Hovering in a cloud above the banquet. Discord, the sinister uninvited guest, hurls a golden apple down.casting a pall over the party. Thus, select elements of the Banquet of the Gods are seen as a court feast in an early opera performance. Mythic themes loosely borrowed from antiquity were recast into theater pieces and festival designs by artists, writers, and composers. whose works appeared in an international milieu of festival celebrations in seventeenth and eighteenth-century Europe.<|end|> <|start|>Studio Weave has built an arched greenhouse as part of London Design Festival, which is filled with plants that it predicts will soon be able to grow outdoors in the UK due to climate change. Named Hothouse, the pavilion was created to draw attention to rising temperatures caused by climate change, which will allow many tropical fruits to be grown outdoors in London in the next 30 years. “We wanted to talk a little bit about how London is getting warmer,” Studio Weave director Je Ahn told Dezeen. “The idea is to show the types of plants that we will be able to easily grow in our gardens by 2050.” “It’s not meant to be doom and gloom,” he continued, “it’s meant to remind people of the relationship we have with nature – we want people to engage with the structure and the plants.” Built as part of this year’s London Design Festival – which is one of the few major design events to go ahead this year after many were cancelled due to the coronavirus pandemic – the greenhouse-like structure is located in Redman Place near the Queen Elizabeth Olympic Park in Stratford. The structure pays homage to the area’s previous history as an edible fruit-growing hotspot. Its planting was designed by landscaper Tom Massey and includes numerous tropical plants such as guava, avocado, pomegranate, mango, sugarcane and pineapple. “I live in Homerton, next door to Stratford, and knew that the Lea Valley had the world’s largest density of greenhouses in the 1930,” said Ahn. “This area supplied a huge amount of exotic fruits, like grapes and cucumbers – that was in my mind.”. The seven-metre tall structure was made from a series of galvanised-steel arches that are supported by steel tension cables. “We wanted to create something with an organic feeling that seems to be growing out of the ground,” explained Ahn. “It has the optimum shape for achieving the climate we wanted; tall in the middle with entrances at either side that allow it to draw hot air up to the top, which can be released if it gets too hot.” As the pavilion was designed during the coronavirus pandemic, the London-based architecture practice was aware that most people would not be able to go inside, so it needed to be engaging from the exterior. To ensure this, Studio Weave enclosed the greenhouse with transparent CNC-cut recyclable plastic to make the plants as visible as possible. At night the pavilion is lit up to draw attention to the planting. “We knew that not too many people would be able to go inside, so we made sure people could engage with the plants from the outside,” explained Ahn. “We made the covering from the clearest material we could find – it’s a large version of an Edwardian Terrarium.” Hothouse was built with no permanent foundations and was designed to be demountable. It will remain in Stratford for the next year before being dismantled and moved to an, as yet undetermined, permanent location. Studio Weave has built numerous pavilions across London. Recently it built a “typical terraced house” to give views over the construction site of a new design district in Greenwich and a colourful water-tank pavilion beside River Thames next to the US embassy. Photography is by Ed Reeve. Project credits: Architect: Studio WeaveSupported by: Lendlease, IQL and London Continental RailwaysEngineering: ArupHorticulture design: Tom MasseyPlant nursery partner: Hortus LociFabricator: Cake IndustriesMaterial: Amorim<|end|> <|start|>Phoenix Central Park is a gallery and a performance space in Sydney designed by Durbach Block Jaggers and John Wardle Architects. The performance space, which was designed by architecture studio Durbach Block Jaggers, is shaped like a bell with stepped walls formed by curving horizontal timber louvres. Connected to the auditirium is a gallery space designed by John Wardle Architects as a stack of irregular boxes formed from concrete that has been left bare as a backdrop for the artworks. Both studios collaborated to create the alternately jagged and undulating facade of long pale-brick façades that enclose the building. “The facade was the result of equals involved in the back-and-forth serious play of architecture,” Durbach Block Jaggers co-founders Camilla Block and Neil Durbach told Dezeen. “Phoenix Central Park is an essay in the collaborative process,” added John Wardle Architects founder John Wardle. “Our two practices came together, frequently with the client in the room and discussed strategies that were both at variance to and orchestration of both practices and the interior strategies that were being employed.” The cultural venue was commissioned by Australian billionaire Judith Neilson as a place to bring together the visual and performing arts. “One of the intrigues of this commission was the lack of any specific detail given by our client Judith Neilson, she was intent on the brief being as open-ended as possible,” explained Wardle. “This a private gallery space that would at times address public programs, this fuelled the idea of spaces that would contain single works and an audience of one.” To execute this concept, the gallery volume contains a mix of rooms, with some designed to display a single piece of art in isolation next to spaces large enough to house whole collections. Concrete floors, cast “painstakingly” in situ, are connected by a timber staircase with ridges that echo the puckered brickwork of the facade. “The basement, ground and upper levels are all cast-in-situ concrete, the degree of difficulty was extraordinarily high as the footprint of this building is on a tight inner urban site,” explained Wardle. “The galleries were shaped out of hard walls of solid concrete and soft walls of plaster with deep background for fixing artwork,” he added. “We developed a hanging system that utilizes tie rods holes used in the construction of the precast.” Skylights allow softly diffuse life to permeate the upper galleries, while the floor below is left atmospherically gloomy. Another oculus forms a focal point on the exterior wall, with the brickwork dimpling around the circular window and its smaller, slightly offset, twin. This unique feature is designed to draw attention from passersby while reminding gallery visitors of the world outside its walls, said the architect. “We were interested in using brick as a complete surface, as a fabric-like drape that abstracted and approximated the structural characteristics of the internal elements,” said Wardle. “The vast dimple suggests the weight of the two interlocking windows impressing upon the fabric of the brick surface.” This sense of drama continues inside the performance venue, where Durbach Block Jaggers chose a layout informed by Elizabethan-era theatres. The stage is designed to be seen in the round, so a balcony area of seating loops around the perimeter of the curving walls. “The performance space is a billowing timber bell-shaped room, a carved ‘clearing’ that sits within a mute and enigmatic facade,” said Block and Durbach. “Crossing the threshold is an unexpected leap from the ordinary to a secret space of held peace.” The pale timber ribs provide a striking, tactile backdrop that serves an acoustic as well as aesthetic function. These timber elements were prefabricated in a factory and assembled on site. Outside the theatre, the lobbies are dark and moody, punctuated by gold-lined arches and striking all-red lifts that spill blood-coloured light when the doors open. Planters in the courtyard garden have similar irregular outlines that echo the asymmetrical walls of the venue. The planters’ thick rims double as benches, and inside hardy succulents and cacti are planted in a gravelly surface. Phoenix Central Park has been longlisted for Dezeen Awards 2020. John Wardle Architects was founded in 1986 by John Wardle and has offices in Melbourne and Sydney. Wardle won the Australian Institute of Architects Gold Medal earlier this year. Founded by Neil Durbach, Camilia Block and David Jaggers, Durbach Block Jaggers is based in the city of Potts Point. A previous residential project by the studio is this clifftop house that was inspired by a Picasso painting. Photography is by Trevor Mein unless otherwise stated. Project credits: Architects: Durbach Block Jaggers and John Wardle Architects.John Wardle Architects team: John Wardle, Stefan Mee, Diego Bekinschtein, Alex Peck, Luca Vezzosi, Adrian Bonaventura, David Ha, Ellen Chen, Andy Wong, Manuel Canestrini, Meron TierneyDurbach Block Jaggers team: Neil Durbach Camilla Block, David Jaggers, Simon Stead, Anne Kristin Risnes, Deb Hodge, Xiaoxiao Cai, Adam HohProject manager: Aver, ColliersPlanner: Mersonn
StructuralEngineer: TTWCivil engineer: TTWGeotechnical engineer: Pells Sullivan MeylinkBuilding services engineer: Evolved EngineeringTraffic and pedestrian modelling: GTA ConsultantsFire engineer: Affinity FireAcoustic consultant: Marshall DayLandscape Architect: 360ºSignage and wayfinding: Studio OngaratoBuilding surveyor: Philip Chun & AssociatesAccessibility consultant: Philip Chun & Associates
Facade engineers: InhabitLighting design: BluebottleCustom bricks: Krause Bricks
Bricklaying: Favetti bricklaying
Architectural steelwork and art hanging doors: TILT; All styled, Active MetalOff form concrete: Hi-FormGallery roof: ARC roofing with ARMA
Timber source: DinesenTimber and joinery: Top Knot Carpentry and Joinery 
GRPCeilings: Shapeshell with DDIStone seat: Sourced from Hendersons Quarry in Harcourt and worked by Studio 2CLT performance space ceiling: Hess SpecialtyRender: CoverUp Dynamics
Brass basins: Bespoke HouseBrass linings: BronzeworksTiling: NashJoinery: Debrich
Commercial kitchen: AustmontSpeciality glass: Ozsea; Definitive GlassEmergencies and exits: Bluelab Design, Australian distributor of ETAP LightingBrass DBJ hardware: Chant
Hardware: KeelerJoinery and upholstery: InfracraftContractor: Bellevarde Construction; FDC Group<|end|> <|start|>Dorte Mandrup has revealed visuals of a museum in Berlin that will create a backdrop to the ruins of Anhalter Bahnhof station and tell stories of the people who fled the Nazi regime. Slated for completion in 2025, the Exilmuseum Berlin will be built on the Askanischer Platz and also spotlight present-day experiences of displacement. Dorte Mandrup’s design has a simple, curved form and is intended to highlight the position of the former Anhalter Bahnhof railway station, from where hundreds of people fled in exile during World War II before it was largely destroyed by bombing in 1943. The station’s ruins, which have since become an important monument, will be kept intact and become the focal point of the museum’s entrance behind it. Museum will be “minimal yet forceful gesture” “It is fantastic to be part of creating a place where the understanding of exile is being illuminated,” the studio’s founder, Dorte Mandrup, told Dezeen. “It has never been more pressing than today where more than 65 million people are driven into exile,” she continued. “The museum will be a memorial of the past and a vehicle for future awareness and solidarity.” “Our concept is a minimal, but forceful gesture – a single curve that marks the position of the former Anhalter Bahnhof and creates a void that bridges the past and present,” added Mandrup. Once complete, the curved facade of the 6,300-square-metre Exilmuseum Berlin will be punctured by wide arches that rise up from the base of each elevation. Lined with glazing, these will mark the entrances to the museum and also frame views inside. Brick facade will echo Anhalter Bahnhof Yellow bricks will be used across the facade to mimic those used to build Anhalter Bahnhof, which the studio hopes will appear as though they were salvaged from demolition. At the centre of each elevation, the bricks will be arranged to form rows of small tilted panels that have glazed areas behind, reflecting spots of light onto the interior walls and evoking a flickering image from a film projector. “We imagine that the millions of yellow bricks that used to cover the site after the demolition of Anhalter Bahnhof have now been transformed into a softly curved arch form,” explained Mandrup. “The differently tilted bricks make the facade appear like a flickering image – as a subtle reminder that more than just a building was lost in this place.” Station ruins will be framed by museum entrance Inside, Exilmuseum Berlin will comprise three storeys above ground and a basement level. There will also be a green roof, hidden behind brick parapets. The primary facade and entrance will be on the north side, facing onto the Askanischer Platz and marked by the ruins of the former train station. Here, visitors will enter through the curved opening where they will be greeted by a three-storey foyer lined with a cobbled floor that acts as a continuation of the plaza. The foyer will house all the circulation for the building to create easy access to all functions, which will include a mix of permanent and temporary exhibitions, alongside education facilities and a restaurant. “When entering the northern curved facade, visitors step into a dramatic three-story void, a foyer that facilitates the vertical and horizontal circulation,” said Mandrup. “Here the cobblestone paving at Askanischer Platz is continued, creating one continuous surface where inside and outside are only divided by a glass wall.” Exhibitions will be “media-intensive” The exhibitions will be “media-intensive” rather than displays of material objects, which the studio hope will offer a more immersive experience. Their focus will be primarily on Germany in the years between 1933 and 1945, but will also spotlight the present in an attempt to “bridge the gap between the Nazi-era exile and exile in our own times”. Dorte Mandrup’s proposal for the Exilmuseum Berlin was the winning entry to an international competition for the museum that was initiated in November 2019. The studio’s design was developed with the support of Höhler & Partner, Topotek1 and Buro Happold. All the entries for the competition, which included designs by SANAA, Diller Scofidio + Renfro, Kéré Architecture and Caruso St John Architect, will be on show in an exhibition at Berlin State Library later this year. Dorte Mandrup is the eponymous studio of Danish architect Mandrup, which she founded in 1999 in Copenhagen, Denmark. Other recent projects by the studio include proposals for the tallest tower in western Europe and an Arctic whale watching facility in Norway that will “grow out of the landscape”. Visuals are by Mir. Project credits:Client: Stiftung Exilmuseum BerlinArchitect: Dorte MandrupLocal architect: Höhler & PartnerLandscape: Topotek1Engineering: Buro Happold<|end|> <|start|>Slender grey brick walls protrude from the front of fine arts museum Musée cantonal des Beaux-Arts Lausanne, which Barcelona studio Barozzi Veiga created in the Lausanne city centre. The studio won an international competition to design both art museum the Musée cantonal des Beaux-Arts Lausanne (MCBA) and the masterplan for the city’s new art district, where the museum is located, in 2011. The art district, Plateforme 10, was established near Lausanne’s central train station and covers more than two hectares. “Since the beginning we have been thinking about a design for the new art district to be not just a detached entity in the city but also as a trigger project for the redevelopment of the abandoned area by the railways,” Barozzi Veiga co-founder Fabrizio Barozzi told Dezeen. “Our approach pursued the intention to transform and give back to the city that central large urban space that at, that time, was unused and fragmented.” Musée cantonal des Beaux-Arts Lausanne, which holds more than 10,000 works of art, was built on the site’s southern edge, parallel to the train tracks. The 145-metre-long building features a distinctive ridged facade that is meant to reference its industrial surroundings. “The project carries and expresses the memory of the site, echoing the former industrial condition with pragmatic forms, rigorous geometry and hard, sharp lines,” the studio said. A 19th-century train hall previously located in the space was demolished, but Barozzi Veiga preserved its arched window for the art museum – which is longlisted in the cultural building category for Dezeen Awards 2020. “The old arched window becomes the main protagonist of the building façade from the railway and, once within the foyer, it reveals its full role as a substantial structuring component of the new building’s sequence of spaces,” Barozzi said. The building is “relatively hermetic” in order to protect the museum’s collections. An almost closed facade faces the train tracks to the south while opening up more towards the northern side, where there is a new public plaza. “We decided to implement a brick façades which could offer a texture, a vibrant pattern to the blind monolithic elevation and, simultaneously, it could evoke the industrial history of the site,” Barozzi explained. “On the square, the vertical blinds’ rhythm breaks the massiveness of the monolith and reveal the openings,” he added. “At night, these brick blinds serve as a canvas to diffuse the interior light coming from the museum.” Inside, the studio used terrazzo for the floors and plaster for the walls, both in a light grey hue, with the ground floor functioning as an extension of the public space outside. The upper levels, which house the exhibitions, have been given wooden floors. Barozzi Veiga aimed to reach “the highest sustainability standards” when constructing the building. The architect said it “follows the Swiss label Minergie ECO, the SMEO procedure and the grey energy calculation, according to The Swiss Society of Engineers and Architects (SIA) 2023”. “The compactness of the form, the use of natural light to light up the interiors and the high flexibility of the spaces, which allows for different public events to take place within the walls of the museum, are among the essential architectural features that contribute to make the MCBA a sustainable building,” Barozzi added. Lausanne’s two other major art institutions, photography museum the Musée de l’Elysée and the museum of contemporary design, Musée de Design d’Arts appliqués Contemporain, will also open in the art district in 2022. Both museums will be housed in one building designed by Aires Mateus, which won a 2015 competition. Barozzi Veiga also recently completed a trapezoidal riverside arcade for the Tanzhaus dance centre in Zürich. Photography is by Simon Menges, unless stated otherwise. Project credits: Authors: Fabrizio Barozzi , Alberto VeigaProject leader: Pieter JanssensProject team execution phase: Claire Afarian, Alicia Borchardt, Paola Calcavecchia, Marta Grządziel, Isabel Labrador, Miguel Pereira Vinagre, Cristina Porta, Laura Rodriguez, Arnau Sastre, Maria Ubach, Cecilia Vielba, Nelly VitielloProject team competition phase: Roi Carrera, Shin Hye Kwang, Eleonora Maccari, Verena Recla, Agnieszka Samsel, Agnieszka SuchockaLocal architect: Fruehauf Henry & ViladomsProject manager: Pragma Partenaires SAStructural engineers: Ingeni SAServices engineers: Chammartin&Spicher SA, Scherler SA, BA Consulting SAFaçade consultant: X-made SLPLighting consultant: Matí AG<|end|> <|start|>James Dyson and his wife Deirdre are to open their private art collection to the public in a gallery that WilkinsonEyre’s founder, Chris Wilkinson, has designed for their UK home. Named the Dodington Art Gallery, Wilkinson’s design will be built among trees in the listed walled garden at the Dyson’s secluded Dodington Park estate in Gloucestershire, England. The gallery will be a discreet addition to the grounds, taking the form of a “low key pavilion”, and contain the family’s collection of modern art that includes works by the likes of Pablo Picasso, David Hockney and Andy Warhol. “The Dodington Art Gallery has been carefully designed to create a discreet piece of architecture that fits comfortably into its particular context,” explained Wilkinson. “It is constructed with quality materials that relate to the historic brick walls of the garden and it sits low within the site amongst the trees.” Dodington Art Gallery, which has now been submitted for planning, is set to become the first major modern art gallery in the area and will be free for the public to access on a limited number of days each year. It will be positioned adjacent to an existing sculpture garden that visitors will also be able to explore, containing a water feature by the Dyson founder and art commissioned by his wife. Wilkinson’s design for the gallery is composed of a series of walls in an angular arrangement, unified by a band of clerestory glazing and a thin overhanging roof. These walls will be clad with patinated bronze panels, chosen for a contemporary aesthetic that also echoes the ancient red bricks of the historic walled garden. Steel columns concealed by the walls will support the roof, which will project three metres from the edge of the building. According to Wilkinson, this is designed to partially overhang the existing garden wall and help to exaggerate the “horizontal nature of the building”. The roof will be complete with a carpet of sedum plants, while its diagrid structure will be exposed internally. Visitors will enter Dodington Art Gallery from the northeast corner of the building, where a glazed pivot door will puncture the garden wall. Here, they will be greeted by a lobby that provides access to the exhibition spaces where the art will be displayed along the wall. The lobby will also contain a staircase, passenger lift and goods lift to provide access to a hidden basement gallery. The basement will mirror the plan of the ground floor but also contain bathrooms, a reception and a cloakroom in place of an existing plant room. All required energy for the gallery is expected to be provided by a ground source heat pump. The Dyson family is reported to have a deep-rooted appreciation for modern art, with Dyson once aspiring to become an artist himself. His wife, Dierdre, is an established painter and carpet designer. Among the works in their collection that will be exhibited is a print from Warhol’s Toy Series, Crying Girl by Roy Lichtenstein, Hockney’s Domestic Interior Scene, Broadchalke, Wiltshire and pieces by Picasso, Yves Klein, Victor Vasarely and Allen Jones. Architect Wilkinson co-founded architecture studio WilkinsonEyre with Jim Eyre in 1987, with offices in London and Hong Kong. The gallery is the latest project in the studio’s twenty-year relationship with Dyson and follows the construction modular student halls and a mirrored laboratory at its Malmesbury campus.<|end|> <|start|>Architecture firms Snøhetta, Studio Gang and Henning Larsen have unveiled proposals competing for the Theodore Roosevelt Presidential Library in Medora, North Dakota, with designs that draw on the surrounding, rugged Badlands. US firm Studio Gang, Copenhagen firm Henning Larsen and Snøhetta, which has offices in New York and Oslo, are competing to complete the library for Roosevelt, who served as the 26th president of the United States from 1901 to 1909. The Theodore Roosevelt Presidential Library is intended for a plot in North Dakota city Medora, which is surrounded by Badlands and abuts Theodore Roosevelt National Park. Each design proposal aims to draw on the rough terrain of the Badlands and the conservation policies Roosevelt worked on while president. “There is a unique and awe-inspiring beauty to everything about the Badlands that you simply cannot experience anywhere else,” said Henning Larsen’s design lead, Michael Sørensen. “The landscape only fully unfolds once you are already within it; once you are, the hills, buttes, fields, and streams stretch as far as you can see.” Henning Larsen and its project partner, the landscape architects Nelson Byrd Woltz, have developed a scheme composed of four angular grey volumes that are spliced with glass and topped with grass. Inside, the volumes would be linked underground. Exhibition spaces would be punctuated by different views of the surrounding, and begin in darkness and then gradually become more light as visitors move through the exhibit. “The design fuses the landscape and building into one living system emerging from the site’s geology,” Nelson Byrd Woltz founder Thomas Woltz added. “The buildings frame powerful landscape views to the surrounding buttes and the visitor experience is seamlessly connected to the rivers, trails, and grazing lands surrounding the library.” Studio Gang, which is collaborating with landscape firm OLIN, has proposed a library that act as a “basecamp” for the nearby Badlands national park. Drawing on the formation of the Badlands, the building is separated into three horse shoe-shaped elements that each host different elements of the programme. The spaces between each are intended to be like “cracks” in the park soil. The curves of the three volumes meet in the middle to form a dome in the centre of the building with a latticework roof, and the exterior is intended to open up to the surroundings. “Our design is inspired by [Roosevelt’s] dual love of learning and the outdoors,” said Studio Gang founder Jeanne Gang. According to the firm, the library will also be net-zero, carbon-neutral, and will integrate an ecological restoration and management plan for the surrounding site. “As the first Presidential Library attached to a National Park, the project is poised to foster greater understanding, environmental stewardship, and healing in one of North America’s most incredible natural places,” Gang explained. “Intimately connected with the ecology of the North Dakota Badlands, Basecamp will at once draw people inward for intellectual exchange and direct them outward for physical exploration, allowing them to discover new connections with each other and the natural world.” Snøhetta’s proposal has a huge curved accessible rooftop designed to act as an extension of the landscape. It would be located to the northeast edge of the butte and built with “natural and renewable” materials, according to the firm, with visuals showing large expanses of wood and glass. A curved pathway would connect to the Maah Daah Hey Trail and additional pavilions. The project is also intended to extend beyond its site, including connections to Little Missouri River, a former military camp called the Cantonment, and the original train depot in where Roosevelt first arrived in the area. There would also be a parking option near these external sites for visitors to catch an electric caravan to the site. The project, which is being led by the Theodore Roosevelt Presidential Library Foundation, will be built in North Dakota in recognition of Roosevelt’s affiliation with the state. Born in New York City, Roosevelt first travelled to North Dakota, which was then known as part of Dakota Territory, aged 24 on a hunting trip. Over the years, he invested in two ranches and split his time between them and his home in New York. Studio Gang, Henning Larsen and Snøhetta were shortlisted for the project from 12 practices that applied to the Request for Qualifications (RFQ) that the foundation made public in April to find a suitable architect for the project. The winning design will be selected in late September 2020. Once completed it will join the 13 presidential libraries in the US that serve as archives and museums illustrating the life and work of each president since Herbert Hoover, who was in office from 1929-1933. They are each built in their president’s home state, with the most recent library completed for George W Bush, in Dallas, Texas. Architects Tod Williams and Billie Tsien are designing the 14th presidential library for Barack Obama, who ended his term in 2017. They were selected for the project in June 2016 from a strong-list that included Snøhetta, Renzo Piano and David Adjaye. Called the Barack Obama Presidential Center, the project has encountered controversy because of its siting in the historic Jackson Park, which was designed in 1871 by Frederick Law Olmsted and Calvert Vaux. Last month, Architectural Digest reported it was delayed further after the Illinois State Historic Preservation Office (HPO) requested “additional design reviews”.<|end|> <|start|>Chinese architecture studio MAD has designed a library in the city of Haikou, China that is intended “to be a wormhole that transcends time and space”. Named the Wormhole Library, the structure is currently under construction within Century Park overlooking the South China Sea in the city of Haikou, which is on the Chinese island of Hainan. Being built as part of a rejuvenation plan to improve public space along the coastline of Haikou Bay, the curved concrete building will house a library and facilities for users of the park. The building will be split in two with a large covered foyer dividing the library from the facilities block, which will contain toilets, showers and bike storage. The library will be built around a central, two-storey reading room that will have space for 10,000 books. A cafe, reception area, office and VIP room will also be located on the ground floor, while a tunnel-like children’s reading room and sea view reading space will be built on the floor above. The sinuous building will be cast from white concrete within formwork that is CNC cut and 3D-printed to maintain the shape of the continuous form. Throughout the building, circular holes will be cut in the ceilings to provide light into the rooms. According to the studio, all of the building’s electrics and plumbing will be built into the concrete form to reduce clutter inside the building. Curved sliding doors will retracted into the walls as will windows that can be opened to let the sea air circulate within the building. The building is topped with a rooftop terrace that has views of the South China Sea, while a reflecting pool and white-sand filled area will be built on either side of it. Wormhole Library is the first in a series of seven pavilions that are going to be built along the coast of Haikou Bay as part of the rejuvenation plan. Beijing-based architecture studio MAD was established by Ma Yansong in 2004. The studio is currently designing a culture park in Shenzhen, which will be topped by two pavilions designed to look like groups of large stones, and the Yiwu Grand Theater to look like a Chinese junk. Renderings are by SAN. Project credits: Architect: MADPrinciple partners in charge: Ma Yansong, Dang Qun, Yosuke HayanoAssociate in charge: Fu ChangruiDesign team: Qiang Siyang, Sun Feifei, Dayie Wu, Shang Li, Alan Rodríguez Carrillo, Xie QilinClient: Haikou Tourism & Culture Investment Holding GroupExecutive architect: East China Architecture Design and Research InstituteFacade consultant: RFR ShanghaiConstruction contractor: Yihuida Shimizu Concrete<|end|> <|start|>A glass and steel dome modelled on the shape of a turtle shell rises from the top of a historic building in New York City’s Union Square to pay homage to an indigenous group that settled in the area. Tammany Hall is a brick building situated at the east corner of Union Square Park built in 1928. It is the former headquarters of the Tammany Society, a political organisation named after chief Tamanend, who was the leader of an indigenous group called the Lenape people that settled on land along the East Coast, including present day New York City. BKSK Architects consulted with the Lenape Center, an institution led by Lenape elders that upholds the legacy of the group through programming and exhibitions, to realise the project. It involved a restoring the landmark building’s facade and an expansion of its usable space, which was created by the three-storey-high glass dome on top of the structure. The rounded roof takes cues from the shape of a turtle shell, a reference to the origin story of the Lenape, which says the group believes it rose from the water on the back of a turtle. “Using symbolism from the Lenape creation story, a glass dome inspired by the form of a rising turtle shell has been added to the building bringing an additional 30,000 square feet (2,787 square metres) to the interior,” the studio said. To form the circular dome the existing hipped roof was reconstructed using steel and glass panels that are covered with grey terracotta sunshades. On the top floor sunlight beaming through the domed roof projects the geometric pattern of the steelwork across the floor and rounded walls. To protect the building from solar heat gain and unwanted glare the studio chose a transparent glass material that also provides clear views of the nearby Union Square Park. In addition to the new roof, the brick and limestone facade was also carefully restored and new bronze storefronts, similar to the structure’s original design, run along the street level. “BKSK welcomes the opportunity to develop a visual, meaningful dialogue between contemporary and historic architecture,” added partner Todd Poisson. “We believe that many structures, Tammany Hall among them, can accommodate change and vertical expansion without a loss of integrity.” BKSK, Edifice Real Estate Partners and owner Reading International have positioned the building to house several retail or commercial leases or to act as a single flagship location for a business. Other historic preservation projects in the United States include an 18th-century home in Virginia with a glazed addition designed by Machado Silvetti and Boston’s brutalist city hall. Photography is by Christopher Payne | ESTO, courtesy of BKSK Architects.<|end|> <|start|>Architecture firm Diller Scofidio + Renfro has arranged the galleries of the US Olympic and Paralympic Museum in Colorado, which opens this week, around a spiralling ramp to make it one of the most accessible museums in the world. Located in downtown Colorado Springs, the museum is composed of four aluminium-covered volumes arranged in a pinwheel formation that contain the galleries, an auditorium and events space. The four volumes are wrapped in a steel superstructure that appears to fold over glazing on the ground floor, with vertical windows extending to the top of the building. “We conceived of it as almost like a garment that was like a little bit like an Olympic athlete’s costume stretched over the structure,” said Diller Scofidio + Renfro partner-in-charge Benjamin Gilmartin. “It warps and twists with these surfaces that give it a tautness. It is really meant to be a tailored garment on the outside of the building that is perfectly fitted.” The metalwork is composed of 9,000 diamond-shaped panels that are marked in the middle and lift up in the centre to create a play of light and shadow across the facade. “The folding of the diamond into triangles was just the initial idea,” Gilmartin continued. “But then we played with the shaping, we did a lot of model testing, digital studies and things like that and found that it has a really nice reaction to light. The fold in the panels makes a highlight with the upper part that’s tilted towards the sky, and a shadow to where it tilts down on the lower half,” he added. “We saw [the] possibility for the diamond scales or elements across the surface to really animate the surface as the light changes in Colorado Springs throughout the day.” Visitors ascend to the top level of the museum by elevator and then gradually move through the galleries on a downward-spiralling ramp, similar to circulation in New York’s Guggenheim museum. In Diller Scofidio + Renfro’s design, the ramp measures six feet (1.8 metres) wide to allow for side-by-side movement and wheelchairs. “It is founded on the idea of a continuous path from the top to the bottom, so we started with a vision of a Guggenheim but with a much more gentle sloping,” said Gilmartin. It is because of this circulation that the firm said the museum is one of the most accessible in the world. “Everyone has a shared experience moving along that path regardless of ability or age, or differences between people,” Gilmartin added. “That was a really important architectural organiser.” Accessibility formed a key element of the project, which is the only museum in the US dedicated to the legacy of the country’s Olympic and Paralympic athletes. The New York practice consulted with Paralympic athletes and persons with disabilities, to create a museum in which all visitors could enjoy the same experience. Smooth floors suited to wheelchairs, glass guardrails that allow for visibility from a low height, benches with guards for canes and moveable cafe seating are among other details designed to improve accessibility. Walls around the skylight lit 40-foot (12-metre) tall atrium at the centre of the building is covered in white Glass Fiber Reinforced Gypsum screens, which are perforated towards the bottom to offer views of the rest of the lobby. Four glazed balconies in between the walls provide a place for pause for visitors as they move down the museum. The US Olympic and Paralympic Museum has 20,000 square foot (6096 square metres) of galleries across the ground, first and second floor, interspersed with other elements of the programme. A 130-person theatre is located on the ground floor with two rows seats that can be removed to accommodate 26 wheelchairs – the equivalent of a full Paralympic hockey team. On the first floor is a 1,300-square-foot (396-square-metre) events space with views of downtown Colorado Springs and the Rocky Mountain that opens onto an outdoor terrace. The second floor also has a boardroom with outdoor access. A museum shop extends from the main museum to link to another building with a green roof on the other side of a terraced, outdoor plaza, which was placed to make the most of views to Pikes Peak and the Rocky Mountains. This additional building contains a cafe with access to outdoor dining, that is designed to serve as a restaurant, as well a space to host educational programmes and meetings. Diller Scofidio + Renfro also created a new 250-feet-long pedestrian bridge that extends from the museum over an active railyard to America the Beautiful Park. The bridge is composed of six prefabricated sections that will be assembled later this year. The US Olympic and Paralympic Museum, which was first unveiled in 2015 and broke ground two years later, will open on Thursday 30 July 2020 with timed tickets as part of a series of safety measures in response to the coronavirus pandemic. It marks the latest museum project completed by Diller Scofidio + Renfro, which Gilmartin leads with Elizabeth Diller, Ricardo Scofidio and Charles Renfro. Others in the US include the renovation of New York’s Museum of Modern Art, the Broad Museum in Los Angeles and an art centre at Stanford University. Photography is by Jason O’Rear, courtesy of Diller Scofidio + Renfro. Project credits: Design architect: Diller Scofidio + Renfro, (Partner-in-charge: Benjamin Gilmartin)Architect of record: Anderson Mason Dale ArchitectsExhibition designers: Gallagher & AssociatesMuseum and content development: Barrie ProjectsStructural engineer: KL&A in collaboration with ArupCivil engineer: Kiowa Engineering CorporationFire engineering: Jensen HughesMechanical and plumbing engineer: The Ballard GroupElectrical engineer: ME Engineers Acoustics, Audio/ Visual, Theater: ARUP Accessibility: Ileana RodriguezLighting: Tillotson Design AssociatesLandscape architects: NES, Inc. in collaboration with Hargreaves Jones Code: Advanced Consulting EngineersVertical circulation: Iros Elevators Design ServicesCost estimating: Dharam ConsultingEnergy modelling: IconergyExterior envelope consultant: Heitmann & AssociatesFacade fabrication: MG McGrathConstruction manager and general contractor: GE Johnson<|end|> <|start|>Hong Kong studio Rocco Design Architects has created the folded façades of the iADC Design Museum in Shapu to be a visual representation of Shenzhen’s “design spirit”. Rocco Design Architects designed the International Art Design Center (iADC) to anchor the Shapu Art Town, which has been built in Shenzhen’s Bao’an district. “The Museum is intended to be a visual icon of Shenzhen’s design spirit: innovative, non-conformative, literally breaking out of the box,” explained Rocco Design Architects principal Rocco Yim. “It will be a symbol for a district mainly dedicated to activities related to the design industry,” he told Dezeen. The museum, which is raised from the ground on concrete columns to allow pedestrians to pass under it, is clad with a series of folded white panels that project out over the building’s entrance. “On a metaphorical level, the folds are a visual feature to signify the bursting of energy,” said Yim “Urbanistically, by folding out above the streets, they are a gesture of welcome and create semi-open covered spaces at ground level that are useful for spontaneous activities.” The museum’s four floors of galleries are reached by a wide outdoor stair or by footbridges on the first-floor that connect to the adjacent shopping blocks. Exhibitions space are divided into two wings – one dedicated to Chinese art and the other contemporary design exhibitions. A monumental stairway connects all the floors creating a spiralling route up through the building. Gaps between the folded façades are designed to let light into the museum and give views out to the surrounding development. The basement of the building contains a large auditorium and open exhibition space, along with toilets and other back-of-house facilities. The design museum was built alongside the 12-story iADC Mall furniture exhibition centre, which was also designed by Rocco Design Architects, as part of a development that also includes a hotel, office buildings, art shops and residential towers. 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EDIBLE DEEZER GENERATED DATA:

CULTURAL FESITVAL ARCHITECTURAL TEXT GENERATOR

After training the GPT-2 algorithm on the training data, the AI is able to generate it’s own text on the same topics and in a similar style to the training data. The temperature is the most interesting parameter for creative means as it changes the probability limit for the next word, in other words the higher the temerature the more discontinuous the concepts in the text will be, however this is at the cost of comprehension. It is important to find a balance, the research on this page was completed to understand the effect of the temperature on this specific AI.

CHAR/SAMPLE = 50 ... TEMP = 0.7 ... PREFIX=FALSE

CHAR/SAMPLE = 50 ... TEMP = 0.8 ... PREFIX=FALSE

Architect: Pale Architecture Studio Arkhanoud Arkhanoud Architecture is a Swiss architecture studio founded by Hans Christian Archbishops, the late pope, and his wife, Eva, in 1989. The studio has recently completed the first stage of its UK ==================== The APD has also renovated a community centre that overlooked the Finsbury Park waterfront and designed a new outdoor sculpture park. The refurbished townhouse features a glazed facade that frames views of the park, and a curved roof ==================== The Auditorium opened to the public on 3 October 2017. It is the first permanent venue for the Auditorium, an independent cultural centre established in the town’s capital, on the grounds of a former military training base ==================== AI-Carnegie has announced its design for a New York art museum that will be built on the nearctic Elbe river. Called The Factory, the building will house a range of artworks, including the National Museum ==================== The house is located in the Sørlandt Valley near Toleviøya, Denmark. Its complex composition of concrete, steel and glass gives the building a distinctive form made visible by its rather steep gradient ==================== has opened its new headquarters to the public for the first time. The Shigeru Ban Center for Creative Urbanism (ShBG) is the new home of the VIS Frankfurt gallery, which has recently completed a new gallery for art students at the University ==================== The Menashe County Museum of Art in Tulsa has opened its new wing, designed by New York firm Davis Brody Bond, featuring a large canopy that stands out like a leaf against the oak trees. The gallery is ==================== The Design Museum is opening a new wing that will house a permanent exhibition space in the new building, which is located on a street corner in the city of Weil am Rhein. The Design Museum is also converting a commercial building in Weil ==================== Rooms are arranged around a large atrium, which is punctured by a five-metre-high atrium. This atrium is the building’s main circulation artery, connecting the surrounding buildings and the city. Its walls are made up ==================== The Vatican City has been given a new name, changing from Imperial Imperial Park in Rome to a mixed-use complex for the Pope’s Holiness, the Vatican City official announced yesterday. The new name is Imperial Imperial Park, after the imperial buildings, ==================== The firm’s first project in the US was a red brick performing arts venue in West Palm Beach, Florida. Four years later the firm is moving its practice into the historic venue located in the Perelman Plaza housing the New York’s Metropolitan Museum of ==================== The project, called The Last Stand, was started by the Friends of the Earth Foundation to memorialise and protect the remains of a historic mining house in New South Wales. In the past year the organisation has collected over 7,800 pieces of inscribed Aboriginal ==================== The building will provide a permanent home for the National Museum of the United States Army, the first permanent structure in the country dedicated to the country’s Army history. It will also house offices, collections and permanent display space, and could be used for ==================== The city is planning to build a new public space for the photography festival Pentagram, in a construction that will include a restaurant, gallery, shop, two auditoriums and a theatre. The project is being led by Pentagram’s European ==================== The Serpentine Gallery Pavilion – the Serpentine Gallery in London – has opened to the public. It is the gallery’s second building in the UK, following a new home for the Serpentine Gallery London and a set of four new gallery spaces ==================== “Our job was to bring life back into the space,” said studio co-founder Eva Freitas. “What we tried to do was to bring life into the space in all its richness.” The building has a double-height ceiling, but all ==================== The 21st-century breed of architecture has reached its peak today, when concrete and steel struts above a sculptural serrated volume, intended to form a space of meditation and reflection. Called the Serpentine, the sculpture is designed to reflect the ==================== The art gallery was designed by the National Trust for Historic Preservation to host a permanent collection of white European art in a former village in the village of Breguet. The village is located in the Breguet region in ==================== The centre is made up of a double-height foyer, which is used for storing exhibits and rooms for local artists. A staircase that follows the diagonal pattern of the foyer provides access to the exhibition spaces stored in the former Bowden College ==================== This skeleton was made from two cubic blocks, but two different dimensions were chosen to give the shape of the floorboard. The dimensions of each block were then computed using a computer system, and the resulting structure is said to be almost 50 ==================== Slam dunk, I’ve re-worked the archive and cultural centre in São Paulo. It’s the home to a collection of architectural, and historical, artefacts, including the Mestres de Mestres por favor de b ==================== “I was so excited when I saw the pictures of the tents, because they are so similar, that it was so exciting,” he told Dezeen. “I really wanted to see the light in the tent, because I felt it represents the ==================== Vases with white walls and soft furnishings by Studio Gang and glass walls by Studio Fumihiko are on display in a newly opened space run by the local theatre group. The Studio Gang gallery is designed to be a “visual, tactile ==================== If you are interested in learning more about the project, you can read our brief description of the building here: http://www.lwn.com/sites/default/files/architecture-building-museum-kristina==================== The west London outpost of British firm Alan Baxter Architects has opened a museum dedicated to the work of Russian artist Nikola Tesla in Lens, Russia. The Lens Museum is located in Lens, on the Dnieory Peninsula in west London, and is intended to ==================== The Frick Collection in Houston, Texas, is celebrating its 20th anniversary this week. The Frick Collection was established in 1872 and is the largest and most well-known private art collector in the United States. Founded in 1919, the ==================== The concept for the project was initiated by OMA founder Rem Koolhaas, who had recently completed the Musée National des Beaux-Arts du Quebec (UNBQ), which he described as “a national cultural centre that stands in ==================== “It’s not like we beat them or anything,” said Ganzberg. “We tried to stay true to the original design.” The full museum will be revealed in late 2020, and completion is slated for 2019. The museum’s previous projects include ====================

The angular facade of the new Stirling Prize-winning arts centre in northern England is clad in glass and mirrors to give the appearance of a series of large open rooms, with a single function hall. London

architecture studio Snøhetta was ==================== The King Edward International Centre for the Visual Arts in Shrove is a new cultural centre for Shrove, a major city in the western province of Ontario. It forms part of the revitalisation of the city’s South Block neighbourhood, which also ==================== “The project has created a civic space that is seductive and inspiring a place where people can meet, talk and be inspired by a space of shared values, place diversity, and culture renewal,” said the architect. “The space also allows for a ==================== Event organiser Holy See has released new images of the new concrete and glass auditorium designed by Hungarian landscape architects Siza Arquitetas to host the Olympic Games in Hungary. The 40,000-square-metre auditorium ==================== Men are the first to encounter the ruins of a ruined temple. The temple was destroyed by a fire in Aix-en-Provence, France, in 1724. The surviving remains of the ruined temple, which was built by the Franc ==================== “The border wall is a beautiful and simple concept, one that I found quite difficult to deal with the extreme temperatures,” said the architect. “The border wall is very difficult to follow at first, but once you understand it, it is a very ==================== Emiratsia Nizio Arquitectos – a non-profit architecture and design organisation that was founded in Moscow in 1936 – has completed a concrete extension to the existing Aga Khan Museum of Art, which occupies a site in the ==================== The Museum of London’s Design Museum in London opened its new wing, called The Jubilee Project, following a competition in which designers were to create a museum that featured “visual expressions of the institution’s design excellence”. The design ==================== The new Longmire Power Station – a new two-storey extension of the former Glenstone Warrington Airport – will power the airport’s new 220,000-square-metre facility for the UK’s oil and gas industry. The £2 ==================== Architect: Archohmruppenfuhr Museum & Archive, Darmstadt-based Darmstadt-based architecture firm Archohmruppenfuhr has completed a museum in the German city of Kassel featuring a massing of angular ==================== A group of architects has proposed a simple solution: transform a century-old church complex in New Plymouth into a cultural centre. The New Plymouth Sculpture Museum is currently under construction on its western boundary, which will separate it from ==================== The first stage of the renovation of the historic Breuer Chapel in Berlin was completed in February 2017. A gallery, exhibition, auditorium, auditorium and cafe were renovated and restored by Berliner Koninkau, Berlin’s oldest art conservancy, ==================== “The character and quality of the work is based on the essence of the monastery, the monk who was the first representative of the Franciscan friary in the ninth century,” the studio added, noting that the building’s design is based on the ==================== The next step for the city’s new Harbin Cultural Centre is to include artworks, children’s play facilities, a theatre, a restaurant and cafes within a series of new public spaces. The city’s planning department has also outlined a masterplan that ==================== This space is dedicated to the work of the AAU-Gallup Centre for International Research and Education in Doha, Qatar. AAU-Gallup is a new centre for education in the Middle East with a structure designed to house and display research ==================== The “core values” of Kengo Kuma’s firm Skissernas Architekten were the “public good and the pursuit of knowledge that is true value for all,” according to the architect. The project was awarded the ==================== The latest images reveal the new Xiangmi Museum in Wuhan, China, featuring a series of concrete and glazed volumes that pay homage to the city’s history as a developing industrial centre. The Xiangmi Museum is housed in the ==================== The firm has raised $9 million (£7.9 million) from investors including Ackman Robertson and Westwood. The firm has offices in New York and London. Other projects by the firm include the new M+ museum in Morocco, the Ser ==================== The Bureau of Land Management’s New National Scenic Area is re-opened following a renovation that references previous renovations by BIMA. The area, which encompasses 2,710 square metres, was formerly a land-grant ==================== The Tate Modern Museum is building its first department store in Poland, after winning a planning application for the extension to the 5,500-square-metre arts quarter in the city that also includes a new art gallery and a cafe ==================== SOMA is reopening its extension to the Grass Valley Museum of Art in San Antonio, Texas, following a competition organised by the Modern Art Foundation. The 6,300 square foot (604 square metres) extension to the museum, located on Sunset ==================== The concert hall that will host the Chinese folk-music festival Farewell Festival will be located in the town of Shiloh in Taiwan’s Hunan province. The area is home to the country’s country house, which was built in 1937, and ==================== The American Museum of Natural History is reopening after a five-year renovation. The 235,000-square-foot (21,000-square-metre) building, which occupies a vast site in the American Southwest, was designed by local ==================== “Some people will see it as a quote, but I think it really represents the attitude that the museum is taking here,” said museum director Thomas Phifer. “The quote that everybody’s laughing at is ‘You’ve made this museum famous, now ==================== “A beautiful, aggressive approach”, says the studio that was behind the original project. “But in many ways it is a modern-day trawls.” The studio, founded by architects Li Hu and Ren Zheng, was responsible for the new building ==================== The Sierras Museum of Art hosts a series of temporary exhibition spaces at its Museo Regional de Aysen – a cultural quarter of the Lithuanian capital that is linked by bridges, rivers and bridges over the Tay ====================

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The architectural forms are inspired by food, such as the spiky roofline of the courtyard-like entrance plaza. Its design takes the form of a compressed earth, enveloped by an internal steel framework. The soggy interior walls of the courtyard fuses with the surrounding trees, and leaves created ==================== The architectural forms are inspired by food, such as the sliding doors and the creaking of the steel-clad bell tower. In the final building, the museum and recreation complex comprises a series of square and round pavilions that surround a central tiered courtyard, which is surrounded by glazed terr ==================== The architectural forms are inspired by food, such as the geological formations of the Bering Sea and the Arctic permafrost. The thick layer of ice between the two countries will also prevent a mass extinction event. “The increased threat posed by Russia with its nuclear, missile and biological weapons, and with ==================== The architectural forms are inspired by food, such as the rectangular box-like structure with a ramshackle arcade, the fractal concrete structure of the Galeria Bau, the tubular aluminium-clad theatre building, and the transparent bus terminal with its lifts and pods. Photography is by H ====================

The architectural forms are inspired by food, such as Neo-Classical architecture with its huge bell tower and Neoclassicism with its giant pigeonhole windows. Photography is by Oscar Pereira***.<|end|> <|start|>A bulging, elevated bulge wraps the subter ==================== The architectural forms are inspired by food, such as the Wall of Fragments we found in a wall cafe in Seoul 10 years ago. “The buildings in our kitchen while being practical would originally have been designed these edible walls either in an oven or in ceramic,” explained Wade, who first unveiled ==================== The architectural forms are inspired by food, such as sinks and small plates of fish that are eaten to hold water. The Cutty Sark restaurant and the Blue Sky spa are also inspired by the seashells used in the Mediterranean region. The restaurant is decorated with Mediterranean motif and is decorated and painted by ==================== The architectural forms are inspired by food, such as the vertical and horizontal strips of pale green metal the building adjoins a communal gridded kitchen, which are formed by local stone walls laid in varying orientations. The cuts in the façades also reveal the contours of the internal spaces, ==================== The architectural forms are inspired by food, such as the prawn-shaped Micro State Food Bank in the city centre in Wuxi in China and a multi-use market showroom in Hangzhou by Zaha Hadid Architects in China. Its main feature is a grid of metal ribs ==================== The architectural forms are inspired by food, such as the three-dimensional connection between a floor and a ceiling formed by the combination of three folds in the facade’s metal grating. Photographs of the two finalists for the competition are by Sam Jacob at Round Table Gallery in Bristol and Jenny Long at Ellis ==================== The architectural forms are inspired by food, such as the Danish design magazine Måncs isle prior to the UNESCO World Heritage List Tokyo, by Tadao Ando and his signature hairdresser Atelier Kondaburo Sado within the mountainy grounds of ==================== The architectural forms are inspired by food, such as the perforated and the bell-shaped drum, which give shape to the ensemble. With the artfully designed cuisine of Toulouse and its accompanying workspaces signalling a growing urban district, the museum aims to enact more or less the same trend ==================== The architectural forms are inspired by food, such as the woven pavilions used in traditional kitchens in rural France. Piano took cues from traditional cookery systems, which allow the creation of small dishes that fully incorporate nature into daily life. “The building is complicated by common elements including the width of the ==================== The architectural forms are inspired by food, such as the edible central stage, which each segment of the cafe is naturally illuminated by the rays of the sun. The building has a concrete skin where its concrete ribs form a concave open space, around which the facade’s four columns divide into blocks of varying ==================== The architectural forms are inspired by food, such as the buildings’ heating and cooling systems and a gridded ceramic tile floor. The challenge was to integrate the interior spaces from outside, creating a sense of openness and transparency. The large windows create semi-enclosed corridors around the central space to encourage ==================== The architectural forms are inspired by food, such as vats of red bean paste in particular, camel’s feet and a Chinese lantern. The outpost has no space available in the existing building, so LYD created a new building for Chandigarh for the site to serve as an extension. “ ==================== The architectural forms are inspired by food, such as the elaborate round table and covered stockings of meat. One corner features chunky timber chairs covered in perforations. Across the adjacent street, a café accommodates a terrace that offers panoramic views of Mexico City. “This pedestrian plaza ==================== The architectural forms are inspired by food, such as the streetscape, open spaces and restaurants lined with seating. Rovio has also designed a concert hall with secluded pools at the rear and a theatre facing eastward of the tower that can be used as a stage during performances. Photography is by ==================== The architectural forms are inspired by food, such as the dietary patterning and cooking techniques of the day and the way in which the food is prepared to fit these dietary requirements,” added Mertens. His firm won an international competition in 1999 to design a museum for the town’s mayor. It will ==================== The architectural forms are inspired by food, such as the squares of the threshing floor in a gallery. As well as serving as a place for the client to spend their time, or to hide from their families, the spaces offer a place for social interaction and additional social responsibility. The building was ==================== The architectural forms are inspired by food, such as the edible cross-shaped table sculptures of roasted garlic, fermented kimchi, and sweet potato soups. Korean architecture firm wakeningscene.com collaborated with Mr Su-min on the original concepts, which were selected from a shortlist ==================== The architectural forms are inspired by food, such as flecks of roasted cauliflower on a cobblestone plaza in front of the museum, and a jasmine-covered gazebo painted over the entrance to an enticing new art gallery in the courtyard. “In this workshop, the observer ==================== The architectural forms are inspired by food, such as fly ash supplied by chefs Dennis Hopper and Hélène Binet over the stove in Paris, fly samples of sauces from local restaurants cooked in the oven in a kitchen workshop in Agra, and serve as a selection of dishes to sav ==================== The architectural forms are inspired by food, such as the larch building’s arching form inspired by the region’s potato farming. The building’s gabled roof canopy rises above the built-in catering service to support the eatery. A glazed entrance on the west facade leads towards shop. A ==================== The architectural forms are inspired by food, such as the artificially lit Griswold Museum in London and the Measuring Room at the Royal Academy in London. “Each of these prefabs uses a different ‘type’ of rigorous experimental toolkit; the gap between the world of urbanism and the ==================== The architectural forms are inspired by food, such as the mountain gardens and cool swimming pools carved into the landscape. The final interior space is dedicated to the arts of entertainment, including performances, dramatised by dance, theatre, dance-fests, dance-offments and food tours. The external ==================== The architectural forms are inspired by food, such as the banquet halls and courtyards, as well as the farm-to-table offerings of traditional cuisine. The designers built on the heritage of this current movement by merging contemporary art with agricultural innovation, while simultaneously drawing on both the menus and animals. ====================

The architectural forms are inspired by food, such as local farming and fermentation, fermentation creating culture, and fermentation cleaning culture.” She added that beer has also influenced the design of many of the restaurants, which draw on the forgotten history of craft kitchens, such as recipe writing. Proposed redevelopment of the historic ==================== The architectural forms are inspired by food, such as siting, sitting, standing, standing, lying or lying down. Planting techniques, which change over time, can help diversity within a building manifest in a building’s overall functionality. For example, fragmentation of the pre-existing functions can help embed ==================== The architectural forms are inspired by food, such as hanging pieces of dead nature on partitions of concrete that surround the volumes. Oslo-based duo Kulapat Yantrasast, a Kulapat affiliate of The Heritage Foundation, has arranged the food exhibits so that they centre around “brown dwarfs ==================== The architectural forms are inspired by food, such as the Torre del Buono (Hanging Gardens) restaurant that features round tables, and the cave-like Contión Halla (Hanging Gardens) that features a free hanging area. These themes are divided into different space types across the museum ==================== The architectural forms are inspired by food, such as the simple folded facade of a large room made of white caget-toned fish-bone, the narrow concourse between which the vertical central stairwells meet. The upper floor is both glazed, enclosed and lined in plastic sheath ==================== The architectural forms are inspired by food, such as the conveyer belt, the graveyard and local graveyard, and the collection campsite, which is surrounded with trees and is empty in view of the view. Rooms, columns and platforms are made of stainless zinc, which contrasts with the general style of the ==================== The architectural forms are inspired by food, such as the clusters of plastic-framed cranes that hold fish in their mouths, or the “palette” covered pointing fingers that are used for symbolic purposes. Austrian practice HASA won the competition for the San Francisco Museum of Modern Art (SFM ==================== The architectural forms are inspired by food, such as the ribbons provided by traditional Jewish festivals, which symbolise a collective collective hunt for meat. In contrast, Hanukketh is a food festival, whose origins are in tradition and whose manifestation is ceremonial. These foods resonate directly with the festival itself ==================== The architectural forms are inspired by food, such as traditional market kitchens that typically feature meat. The Bauhaus Berlin was established in 1919 by OMA as the “European headquarters of lecture and entertainment”. It has since been awarded the Pritzker Prize, although the prize was later declined. Museum ==================== The architectural forms are inspired by food, such as the long horizontal corridor that follows the entrance as it slots down and up. The architects used triangular “cubemodes” that form an archway across this space. These are suspended from the ceiling but can be rotated in either direction to create different ==================== The architectural forms are inspired by food, such as the taro pasteque chairs made famous by the film Peppa Pig – the buffets of Paris. The mornacres were an important part of the artistic tradition in pre-modern Latin America, where the creation of uniquely American furniture can be ==================== The architectural forms are inspired by food, such as using different types of crayfish eggs-egg-egg crayfish and an egg-shaped crustacean-in-a-cruise-pod for example. This playful way of eating is a playful way to eat oysters. “ ==================== The architectural forms are inspired by food, such as the informal porcelain wrapping around the dining area; the rolling, popping and perforating surfaces of the courtyard porcelain create theatrical performance spaces; and the linoleum-lined walls and ceilings that emphasise the ensemble nature of the rooms ==================== The architectural forms are inspired by food, such as the minimalist kibitz – where guests are placed in fixed parades, carefully followed by moving slowly or purposefully behind the Leader of the Food Arts Foundation or group – or the apartment block “Studio Six”. Kimmel and Grigsby demonstrate that the foundation ==================== The architectural forms are inspired by food, such as office blocks that are criss ff m w fl m w w w w ff

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