Looking to brighten up the party at the 2012 Milan Furniture Fair and beyond, Heineken plans to sponsor a pop up club contest. The idea was hatched at the fair two years ago when global design and concept manager Mark van Iterson visited the Salone. The company was on the lookout for an ephemeral marketing idea that would make a nice splash–a beer equivalent of a concept car or couture, a top tier notion with a nice trickle down effect. But when the Icelandic volcanic ash kept him earthbound longer than he expected, he decided leave the exhibits and hit the party circuit instead. It was at one of the fair’s many venues he had his Isaac Newton moment. “I found it a bit dull, and we were waiting 40 minutes to get a drink, and we thought “we can do this so much better–that’s our business.”
If you haven’t heard by now, Pyeongchang, the mountainous South Korean town located in Gangwon Province, 112 miles outside of Seoul, has won the bid to host the 2018 Winter Olympics. Helping secure the win was the $1.4 billion dollar, 1,240-acre Alpensia Resort, which was completed in 2009. It will become home to the Olympic Village, several competitions and the opening and closing ceremonies. Nicknamed “Alps in Asia”, the alpine-style village was designed as an all-season, year-round destination with the help of Cuningham Group Architecture, whose LA office oversaw the design and master planning.
Of Sand and Stone. On September 8th, Milan-based architect Mario Cucinella will break ground on his One Airport Square project in Accra, Ghana’s capital city. The 230,000 square foot structure of irregular cantilevered floor plates embraced by a web of diagonal concrete supports meant to evoke traditional African patterns. Plans call for a dynamic pedestrian plaza with shops and cafes topped with commercial space. Solar panels are integrated among cantilevered terraces with indigenous fauna to protect the building from the scorching sun.
The famed stage designer Robert Wilson is trying his hand at park design with a new commission in Helsinki dedicated to the memory of the designer Tapio Wirkkala, according to The Art Newspaper. The rectangular park–a garden, really–will be divided into nine rooms, each symbolizing different domestic spaces. One outdoor room, for example, will feature a small fireplace surrounded by stone seating. Read More
“Clockwork City” is the fantastical vision of animator Roy Prol calling for a city of rotating rings that change the notion of getting around in large city. As the video (after the jump) notes, the 3,000 meter diameter “Clockwork City” won’t need cars or even transit since work and home are a mere minutes away, anywhere in the city. The city itself is in effect one large form of public transportation. To get to work, the video notes, “Just wait at home until you see your workplace closer.”
Four concentric rings each 280 meters wide housing offices, residential, industrial, and agricultural/energy zones are traversed by smaller cogs joining them together. Boldly proclaiming “endless movement” complete with the prospect of an ever-changing skyline, it’s unclear how such a “Clockwork City” could be built or sustained. What are your thoughts? (Via Digital Urban.)
OMA has won a competition to design the new Parc des Expositions (PEX) convention center in Toulouse, France. Designed to hold conferences, exhibitions, and concerts, the new hall will function as an opening to the city and a hub in the countryside. OMA has configured a plan for that preserves much of the surrounding area while organizing future development along to a 2.8 kilometer centralized stripe, with PEX filling 660 meters of that length. The project is divided into three programmatic bars: the multipurpose event hall for performances and concerts, which opens up to the exterior, a vast column-free exhibition hall, and a large parking silo with ramps that are visible to halls through glass walls. Led by French projects director, Clement Blanchet, the project is expected to be complete in 2016. Read More
An internal New York Times email, acquired by AN today, announced that Michael Kimmelman would start this fall as the New York Times’ new chief architecture critic. Citing Kimmelman as “one of the paper’s great writers”, Jonathan Landman, deputy managing editor, wrote how Kimmelman started at the paper of record as a music critic and “swiftly morphed into an art critic.” And now after four years as a foreign correspondent, he will fill out his all-purpose critic portfolio as architecture critic.
Glimpses of New York and Amsterdam in 2040 at the Center for Architecture (through September 10) is a clarion call for designers to redefine sustainability in architecture. Though it didn’t start with this intention, the visions of 10 young architecture firms imagining future landscapes of New York and Amsterdam raise questions about what changes are imminent for urban development and what part architects can play. The projects suggest both practical and fantastical interventions to improve the prospect of urban growth in the face of ecological, geographic, and demographic shifts.
This year’s Serpentine pavilion by Swiss architect Peter Zumthor opens on Friday, July 1. The first images reveal not just a simple structure of humble materials but also a new type of collaboration for the Serpentine series. Zumthor invited the Dutch planting designer Piet Oudolf to join the project, and although Zumthor retains top billing, his design gives Oudolf center stage. Oudolf recently shared a plan with us of his vibrant garden scheme that forms the heart of the timber-frame structure.