The winning concept, designed by Nikhil Bang and Kaushal Tatiya from the Southern California Institute of Architecture (SCI-Arc), transforms Indira Gandhi International Airport into a forward-thinking, sustainable multimodal hub that mitigates the environmental impacts of air travel while enhancing mobility across New Delhi, India—one of the most populated and polluted cities in the world. The design, dubbed “the Green Gateway,” proposes a future where airports are more than buildings; they provide a seamless connection to the cultural context of the site, from their planning to their form and materiality. a diverse spectrum of design concepts to improve the airport passenger terminal building, addressing the key factors such as futuristic transportation technologies, urbanization, globalization, technology, flexibility, security, project feasibility, and passenger experience”.

Embracing sustainable design strategies, the zero-emission concept features a decentralized system of one central terminal and six towers dispersed throughout the city. The towers provide a dual purpose, working as both air-purifying centers and stations for flying cars. This solution significantly improves mobility across the city by replacing domestic flights as one of the major sources of pollution. The students’ submission describes the airport’s design as “zero-emission at the macro and micro level, improving mobility across the city by replacing domestic flight as one of the major sources of pollution and making air travel a personal affair.”

The project’s aim is to ensure that the building stays abreast of current trends in working methods, offering a variety of new, attractive, and flexible office space. A further two levels are added and a unifying open central space, designed for conviviality, frees up the interior. The resulting form and composition of the design provides a variety of working spaces with a more relaxed feel and improved acoustic properties.

The remodelling scheme, in addition to the interiors, rejuvenates the facades with a rhythmic architectural treatment. Its expressive external appearance owes much to the superimposed rhythms of vertical sun shaders forming, by means of projections of fine blades of varying width, a vibrating screen before the crystalline simplicity of its glazed facades. Approaches to the building are rationalized, and the entrances are clarified and enhanced to provide comfortable and agreeable outside spaces for users of the building and members of the public alike.

The project was inspired by both industrial and domestic design, mixing different materials to create a welcoming atmosphere in its large spaces. Innovative configurations have been integrated from the project’s conception to provide shared spaces that free ideas and create collective intelligence. On each floor, 500m² can be used as discussion and exchange areas. Because the workplace’s architecture favours serendipity, SHIFT connects all floors with a generous staircase, encouraging the free flow of ideas end employees.

Saxony is the cradle of industrialization in Germany. With the decision to present the leading exhibition on 500 years of industrial culture history as part of the 4th Saxon State Exhibition in the Audi Hall in Zwickau, a concept was sought that not only addresses the technical requirements of the high flow of visitors but also addresses issues of sustainability in our time takes a stand. The implemented design concept goes beyond that.

It uses existing industrial goods repetitively and combines them to form an entrance building with a ramp system to receive visitors to the exhibition and to guide them into the former assembly and production hall. In accordance with the implementation of all new construction volumes from sea containers, the development of the equipment elements such as counters and lockers from toolboxes, seating furniture from car tires consistently follows the model of subsequent use. Topics such as industrial heritage, product exchange, and recycling processes can thus be read as a form-defining aesthetic. The existing building, built by Th. Quaysin for Audi-Union AG in 1938-39, was built at the time with the aim of making the greatest possible savings and the aim of a construction method that was as low in iron as possible. All current interventions and renovation work are designed according to the same principle and underline the original character of the building.

The Musée Atelier’s spiral-shaped pavilion, designed by BIG and realised by the Swiss architecture office CCHE, seamlessly rises on walls of structural curved glass. A feat of engineering and design, it is the first construction of its kind to be built at such altitude. The curved glazing entirely supports the steel roof, while a brass mesh runs along the external surface to regulate light and temperature. The green roof further helps regulate temperature, while absorbing water.

In the light-filled new building, ATELIER BRÜCKNER has incorporated a rhythmically flowing route through the exhibition. It starts in the historic building and, going in a clockwise direction, slopes gently down into the heart of the spiral, after which it rises again on the contrary direction – filled with energy like the springs of a watch. Visitors experience the route as a flowing continuum with a composed narration. Each chapter has its own design language and is introduced by an interlude, a mechanical sculpture, or an artistically designed display item. The showcases are positioned within the architecture precisely.

At the centre of the architecture and the exhibition, there is a single watch that has an incredible 21 complications: the “Universelle” is the most complicated watch that Audemars Piguet has ever created. It is presented in a glass sphere, whereby the front and rear are shown as equally valuable views. Eight other watches with Grande Complications are placed around the “Universelle”. The design is reminiscent of a solar system with planets rotating around a sun on their orbits. After all, astronomic cycles are what determine the essence of watchmaking.

The spiral has been designed to perfectly integrate the surrounding landscape. The floors follow different slants to adapt to the natural gradient of the land and provide the basis of the museum’s inner layout stretched into a linear continuous spatial experience. Inside, the curved glass walls converge clockwise towards the spiral’s centre, before moving in the opposite direction: visitors travel through the building as they would through the spring of a timepiece.

An urban farm that combines facilities for 7000 hens with a level for farming vegetables, herbs, and cresses. Like the adjacent cow farm, the new floating construction is organised as a logically stacked and compact agricultural building. besides being a functional farm, the building also fulfils an educational role for the city and its inhabitants, with most facilities made visible to visitors as much as possible.

The lower level (consisting of three concrete pontoons) is fully utilised for farming vegetables, herbs, and cresses, while the upper level is the poultry farm for egg-laying hens. Both production floors relate to the factory floor via elevators and shafts, resulting in two fully utilized levels for eggs and crops, with a factory floor for processing and packaging products in between. Each of the levels has its own appearance in concrete, fully transparent glass, and translucent polycarbonate panels. a steel frame with PV panels tops the entire structure, creating a strong and recognisable silhouette.

The project incorporates technologies based on circular principles with the aim to minimize the ecological footprint of all levels in the building. The mostly submerged level of the crop producing LED farm recirculates warm humid air, and an efficient air- and energy system reduces emissions of poultry dust and nitrogen.

Chicken manure will be dried into fertiliser granules, while the steel frame with PV panels articulates the architecture and generates a high percentage of the necessary electricity on board.

The floating farm poultry is the subsequent step in the planned “outstrips” that will offer a wider variety of agricultural products,’ notes goldsmith. This farm will connect to several circular flows that are already present on site. the realisation of the floating farm poultry will hopefully strengthen the position of both farms within the city’s urban ecology and the M4H (merwe-vierhaven) developments. Not only as a new function for a previously abandoned area, but mainly as a recognisable icon within a city district under development.

The Musée Atelier’s spiral-shaped pavilion, designed by BIG and realised by the Swiss architecture office CCHE, seamlessly rises on walls of structural curved glass. A feat of engineering and design, it is the first construction of its kind to be built at such altitude. The curved glazing entirely supports the steel roof, while a brass mesh runs along the external surface to regulate light and temperature. The green roof further helps regulate temperature, while absorbing water.

In the light-filled new building, ATELIER BRÜCKNER has incorporated a rhythmically flowing route through the exhibition. It starts in the historic building and, going in a clockwise direction, slopes gently down into the heart of the spiral, after which it rises again on the contrary direction – filled with energy like the springs of a watch. Visitors experience the route as a flowing continuum with a composed narration. Each chapter has its own design language and is introduced by an interlude, a mechanical sculpture, or an artistically designed display item. The showcases are positioned within the architecture precisely.

At the centre of the architecture and the exhibition, there is a single watch that has an incredible 21 complications: the “Universelle” is the most complicated watch that Audemars Piguet has ever created. It is presented in a glass sphere, whereby the front and rear are shown as equally valuable views. Eight other watches with Grande Complications are placed around the “Universelle”. The design is reminiscent of a solar system with planets rotating around a sun on their orbits. After all, astronomic cycles are what determine the essence of watchmaking.

The spiral has been designed to perfectly integrate the surrounding landscape. The floors follow different slants to adapt to the natural gradient of the land and provide the basis of the museum’s inner layout stretched into a linear continuous spatial experience. Inside, the curved glass walls converge clockwise towards the spiral’s centre, before moving in the opposite direction: visitors travel through the building as they would through the spring of a timepiece.

During the 92nd academy awards ceremony, Tom Hanks announced that Renzo Piano’s academy museum for Motion Pictures in Los Angeles will open to the public on December 14, 2020. Billed as ‘the world’s premier film institution,’ detailed plans for the much-anticipated museum and theatre complex were first unveiled in late 2017 after construction began on site along Wilshire and Fairfax in 2015.

Major construction has been completed on the already iconic building designed by Italian Architect Renzo piano, the academy museum has recently announced that it has reached the 95 per cent mark in its $388 million pre-opening campaign, and installation of four floors of immersive, innovative exhibitions is now underway.

The Academy Museum director Bill Kramer states they cannot wait to welcome the whole world to the academy museum. When the doors open on December 14, the thrilling combination of exhibitions, screenings, and public and educational programs will create unparalleled experiences for movie lovers everywhere.
This is a museum that only the academy could create: exciting and illuminating; historic and contemporary. One should look forward to sharing the global reach of cinema.’

The dream of this museum will finally become a reality — a gathering place for filmmakers and movie fans from around the world, where we can share the Oscars legacy and further fulfil the academy’s mission to connect the world through cinema.’

A twisting tower clad designed by architect Frank Gehry, is taking form in the south of France. Constructed from a concrete core and steel frame, the scheme emerges from a circular glass atrium echoing the town’s Roman amphitheater.

The distinctive jagged form above the atrium echoes the region’s rugged mountain ranges, with glass boxes extruding from reflective aluminum panels. Due to be 56 meters high when complete, the tower is formed of a concrete core with a steel frame. Glass boxes and shining aluminum panels are stacked around this in an irregular formation above a circular glass atrium.

Gehry’s design for the facade is supposed to echo the craggy rock formations found near the city, the same kind that inspired sometime-resident Vincent van Gogh to paint them in 1888.

Inside, a vast circular atrium will recall the Roman amphitheater in Arles, part of the city’s designated UNESCO World Heritage site. Led by swiss collector Maja Hoffmann, LUMA Arles occupies a former rail depot with a campus designed to showcase some of the art world’s biggest names.

The Frank Gehry-designed tower will house a variety of different programs, including research facilities, workshop and seminar rooms, and artist studios. The entire site will be set within a public park. The tower’s opening date has been pushed back to spring 2020, but new photos show the irregular form of the metallic tower taking shape above the city of Arles.

Design practice LMN Architects have unveiled new details of the design for the Seattle Aquarium Ocean Pavilion. The $113 million project will include the 50,000-square-foot Pavilion sited adjacent to the existing Seattle Aquarium. The pavilion will link together the new Seattle Waterfront, downtown and the historic Pike Place Market.

As LMN explains, the new Ocean Pavilion will integrate a complex building program into Seattle’s urban context. Guided by Seattle Aquarium’s mission to inspire conservation of the marine environment, the new facility focuses on global stories like climate change and ocean acidification. Exhibits rooted in the ecosystem of the Coral Triangle and Indo-Pacific region highlight the interconnectivity of the ocean with local waters, inspiring visitors to connect the welfare of the Puget Sound to the greater Pacific Ocean.

Dedicated primarily to sharks and stingray, the pavilion will include a 325,000-gallon warm-water tank for a range of species. Adjacent to the large tank will be a flexible space capable of hosting events for up to 200 people. The program also includes gathering spaces for smaller groups participating in hands-on education activities and guided interpretation. Seattle Aquarium president and chief executive officer Bob Davidson said that, “The Ocean Pavilion will be at the crossroads of the city. It’s a gift, and it’s also a statement of the importance of Seattle’s relationship to the water and the ocean.”

The design also includes an oculus the “Sharkulus”offering views into the main exhibit from both the plaza level and rooftop terrace. Exhibits within the Pavilion are composed of four primary experiential zones. Circulation pathways through the Pavilion’s levels will offer both above and below-water views of exhibits, as well as views to the Aquarium Plaza and waterfront.

The Seattle Aquarium Ocean Pavilion is scheduled for completion in 2023.