The Bjarke Ingels Group, along with Tess, Transsolar, Base, Transitec, and Michel Forgue, have revealed their winning design for EuropaCity, a 200-acre urban cultural and commercial destination located between Paris and Roissy. Combining the forms of a dense European city with an open landscape, EuropaCity is set to be a retail, cultural, and leisure city of unprecedented scale. Modeled on the European urban experience and equipped with cutting edge green technologies, the development will serve as a retail and cultural hub for the region as well as a laboratory and showcase for sustainable design.
Since Wednesday, four black ewes have a new home, and new jobs as groundskeepers on a small patch of municipal land in Paris. Fenced in on a half-acre lawn in front of the city’s archives building in the 19th Arrondissement, the New York Times reported that the sheep are part of a new “eco-grazing” program which aims to cut out loud, gas-guzzling lawnmowers and toxic herbicides in favor of a more agrarian solution. If all goes well at the archives, city officials have plans to bring more mouton to pastures across Paris.
Starting Wednesday, January 30, LA’s MAK Center and arts promoter ForYourArt will begin hosting Dialogues: Art/Architecture, Paris/Los Angeles, a series of events bringing together architects and artists from those two cities. Events include four discussions at the Schindler House in West Hollywood, an exhibition of drawings and models at ForYourArt in Miracle Mile, and the launch of a publication compiling participants’ work and discussion.
OMA has won the design competition for the new École Centrale Engineering school in Saclay, France, a suburb of Paris. The final design calls for an enormous block composed of smaller buildings creating an open plan grid. According to OMA, the concept behind the design is a “lab city” where multiple events can take place while all being simultaneously observed.
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Ductal concrete technology used for the architect’s shapely “icebergs” in Paris
Frank Gehry has referred to his design for the Louis Vuitton Foundation for Creation, a new home for the contemporary art collection of LVMH mogul Bernard Arnaud, as “a veritable ship amongst trees.” The project, located at the northern entrance of Paris’ Bois de Boulogne near the Jardin d’Acclimatation, hasn’t been without its share of controversy and delays, but the nearly 130,000-square-foot, 150-foot-tall building is moving ahead and is slated for completion in 2012. Though a hovering glass carapace will enshroud the museum, models of the design show the sails parting at various points to reveal concrete “icebergs” that form the building’s core. Since 2006, building material manufacturer Lafarge has been working with the building’s project team, prototype designer Cogitech Design, and precast concrete manufacturer Bonna Sabla to realize the design with Lafarge’s Ductal ultra-high performance concrete (UHPC).
New York vs. Paris. It seems that the Big Apple and The City of Lights are forever battling over design, architecture, fashion, and film. A Parisian graphic designer decided to take matters into his own hands, creating a website to display his witty color-block graphics that juxtapose these iconic cities. Topics are eclectic, ranging from landmarks (the Empire Sate vs. the Eiffel Tower), to architecture (5th Avenue Apple Store vs. Musée du Louvre), to food (cupcakes vs. macarons), to even car parking styles (parking lot towers vs. double parked). More at the NY Times T Magazine.
Oil from plastic. Energy company Vadxx has invented reactors that can transform plastic scraps that can’t be recycled into crude oil with the lowest sulfur content in the world, says Good Magazine. The first reactors are slated for a recycling plant in Akron, Ohio. However, this begs this question: will the amount of crude oil created offset the amount of energy needed for the conversion process?
Basket lights. A New Zealand designer, David Trubridge, has infused his lighting with the spiritual–looking to a Maori creation myth for design inspiration, writes Contemporist. The Maori believed gods gave humans three baskets of knowledge. Trubiridge designed three corresponding teardrop ceiling “baskets”: the bamboo light represents knowledge of the natural world, the polycarbonate light symbolizes knowledge of the spiritual world, and the aluminum basket signifies knowledge of the rational world.