On October 1st, the U.S. Department of Energy unveiled the winner of the 2011 Solar Decathlon at West Potomac Park in Washington D.C., bringing together innovative solar-powered prototype residences designed and built by international student teams from universities and colleges. This year’s champion, the University of Maryland’s WaterShed house, excelled in a variety of then ten metrics used to judge the houses including affordability, energy balance, hot water, and engineering.
60 Seconds Helicopter. The Sikorsky Prize is legendary, for it has not yet been awarded–it’s still awaiting its first winner, whose human-powered helicopter will reach an altitude of 3 meters (10 feet) during a flight lasting at least 60 seconds, while remaining in a 10 meter square (32.8 foot square). But Inhabitat reports that if things go as planned, a team of students from the University of Maryland may be taking home the prize with their human-powered flying machine, the Gamera.
BIG’s beautified universe. Metropolis deconstructs the renderings of Bjarke Ingels Group (BIG)’s latest project: a mosque complex in Tirana, Albania. While the thoughtful octagonal design (an overlap of the Mecca orientation and Tirana’s urban grid) may have put BIG in front of the competition, one can’t help wonder if the seductive juxtaposition of photo-realism and and benign atmospheric glow in BIG’s renderings may be the secret to the firm’s running marathon of competition wins.
More Getty Trust. Christopher Knight at The Los Angeles Times raises a good point regarding the J. Paul Getty Trust’s appointment of James Cuno, currently director of the Art Institute of Chicago, as Trust president and chief executive: It might be a brilliant idea to appoint him to the directorship for the Getty Museum, finally merging the two positions.
Suburbia Objectified? Allison Arieff of The New York Times comments on the recently launched Open House, a collaborative project in which the Dutch design collective Droog and Diller Scofidio + Renfro architects imagined “future suburbia.” She laments that the project missed the point– by treating a real place (Levittown) as a “perfect blank canvas” and dodging “the real issues.”