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Banyan Tree AlUla Resort, AW2 architecture & interiors

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Banyan Tree AlUla Resort, AW2 architecture & interiors

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Banyan Tree AlUla Resort / AW2 architecture & interiors

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Completed in 2022 in AlUla, Saudi Arabia. Images by Banyan Tree AlUla. The resort is 15km from the Kingdom’s first UNESCO World Heritage Site, Hegra. Guided by the Strategic Master planning Guidelines for Alula and the…

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BEEAH Headquarters, Zaha Hadid Architects

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BEEAH Headquarters, Zaha Hadid Architects

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BEEAH Headquarters by Zaha Hadid Architects

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Powered by its solar array and equipped with next-generation technologies for operations at LEED Platinum standards, the new BEEAH Headquarters has been design…

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Greek studio Mold Architects has completed a house on the island of Serifos that is partially submerged into a rocky hillside and features glazed openings that look straight out to sea.

Architect Iliana Kerestetzi's Athens-based practice designed the NCaved house for a site in a secluded cove just metres from the sea cliffs.

The brief called for a building that makes the most of the spectacular views but was sheltered from strong northerly winds. These conditions informed the decision to bury the house into the landscape rather than exposing it above ground.

The building's wedge-shaped plan has bedrooms positioned at the narrow end further up the slope, with living areas and a guest apartment situated on the lower levels.

A sloping green roof is punctured by a series of sheltered courtyards and open terraces. These outdoor spaces allow light and air to reach the subterranean rooms, as well as providing views from the living spaces.

Croxatto and Opazo Architects perches timber-clad cabins on coastal hillside in Chile

"We applied a rectangular grid to the slope to produce a three-dimensional 'chessboard' of solids and voids that accommodate and, at the same time, isolate the residence quarters," the architects explained.

"This strict geometry is discontinued with the rotation of the last axis of the grid, which provides the living area with an ampler view."

The house is flanked on either side by stone walls that extend the full length of the building, visually connecting the different levels and leading the eye up towards the horizon.

In contrast to the solid stone walls, the horizontal openings contain full-height glazing with sliding doors that can open up the internal spaces to the outdoors.

An external staircase slotted in alongside one of the stone walls connects the three levels and provides access to the main entrance, which opens onto a mezzanine overlooking the living area.

The view towards the sea is framed by the stone walls on the descent towards the entrance. On the way up only the sky is visible until the stairs emerge above the walls.

The house's living spaces are entirely hidden below ground and only reveal themselves once inside. The bedrooms at the highest point look inwards onto a rear courtyard garden, as well as out towards the sea through glazed sliding doors.

The bedroom interiors feature stone walls, concrete ceilings, timber joinery and mirrored surfaces. The sloping walls extend beyond the glazed openings to shelter adjoining terraces.

"In caved areas, there are 'negative spaces'," suggested Mold Architects. "They result from severing and removing part of the rock. This rough feeling of a natural cavity was what we aimed to recreate with our choice of materials and colour palette."

Slatted pergolas that cantilever out from the structure allow sunlight to filter into the interior, creating ever-changing patterns of light and shadow.

A concrete staircase at the centre of the house connects the bedroom level with the kitchen, dining and living space below. This room is also linked to the mezzanine above by a staircase featuring cantilevered treads that extend out from a concrete wall.

At one end of the double-height space is a sunken lounge area featuring concrete benches topped with cushions that provide informal seating.

At the other end of the house, beyond the timber-lined kitchen, is a double-height bedroom suite with an elevated bed and a toilet reached using steps cast into the concrete.

Full-height sliding doors lining the kitchen and lounge can retract to connect the interior with a large adjoining terrace and infinity pool looking out to sea.

Concrete steps that descend around the edge of the pool provide access to a gravel terrace and a self-contained guest apartment situated at the lowest part of the site.

Other subterranean projects include Amezcua's Photocatalytic Cave that was built under an existing home, a hotel on the coast of Santorini that boasts suites inside cliffside caves and similarly these caves converted into holiday homes by Kapsimalis Architects.

Photography is by Yiorgis Yerolympos unless stated.

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Mold Architects completes "cave-like" house overlooking the Mediterranean Sea

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Greek studio Mold Architects has completed a house on the island of Serifos that is partially submerged into a rocky hillside and features glazed openings that look straight out to sea. Architect Iliana Kerestetzi's Athens-based practice designed the NCaved house for a site in a secluded cove just metres from the sea cliffs.

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Completed in 2012, Tom Ford's Ranch, designed by Japanese Architect Tadao Ando has a serene Japanese aesthetic that blends surprisingly well with the 24,000-acre ranch arid terrain of Santa Fe, USA. Designed for the famous fashion designer, the project provides a fully equipped equine facility and stunning expansive views. It was designed with local management and oversight by the LA-based design-build firm Marmol-Radziner & Associates.

Tom Ford's Ranch Technical Information

Dwelling in a house is not only a functional issue, but also a spiritual one.

- Tadao Ando

Tom Ford's Ranch Photographs

Tom Ford, who had also studied architecture in his youth, commissioned a project fifteen years ago to Alberto Campo Baeza, but the authorities of New Mexico did not approve it. Finally, Ford again took up the idea of a ranch, this time commissioning Tadao Ando.

Introducing bold geometry and his stoic signature concrete walls into the New Mexico landscape, Ando envelopes and highlights portions of barren land and turns them into monumental 'scapes of form and light. The surrounding landscape's rustic color palette permeates into the complex, filling the space with burnt soil tones and the heavy blues of the sky and water. Add Ando's skillful control of circulation to the mix, and you essentially have a sprawling chapel in the desert.

If you spend time on our ranch or in the American West or anywhere in nature, all of a sudden, all the things you worry about all the time fade away. That's why one of the greatest problems with where we are culturally at this time is that we've all lost touch with the earth and that which is really important in the world.

- Tom Ford

Tom Ford's Horse Ranch Image Gallery

About Tom Ford

Thomas Carlyle Ford (born August 27, 1961) is an American fashion designer and filmmaker. He launched his eponymous luxury brand in 2005, having previously served as the creative director at Gucci and Yves Saint Laurent. Ford wrote and directed the films A Single Man (2009) and Nocturnal Animals (2016). He currently serves as the chairman of the Board of the Council of Fashion Designers of America.

About Tadao Ando

Tadao Ando is a Japanese architect from Osaka, born in 1941. From 1962 to 1969, he trained himself in architecture. After traveling through Europe, America, and Africa, he established his architecture firm, Tadao Ando Architect & Associates, in 1969. After teaching as a guest professor at the Universities of Yale, Colombia, and Harvard in 1997, he became a full professor at the University of Tokyo and a member of the University Council of the University of Berkeley. Primarily in reinforced concrete, his work defines spaces in unique new ways that allow constantly changing patterns of light and wind in all his structures, from residential complexes to sacred spaces.
Works from Tadao Ando

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Tom Ford Ranch: Cerro Pelon by Tadao Ando Architects | ArchEyes

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Tom Ford Ranch was designed by Japanese Architect Tadao Ando in 2012 with a serene Japanese aesthetic that blends with the landscape.

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Heatherwick Studio | Design & Architecture

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In 2012, following a design competition, the Hudson River Park Trust and the Diller-von Furstenberg Family Foundation appointed Heatherwick Studio to design a new pier on Manhattan's southwest riverside. The brief asked for a public park and outdoor performance space. Pier 54 had recently been damaged by Hurricane Sandy and the design was inspired by the structural remnants of previous piers and hundreds of old wooden piles poking out of the Hudson River. This idea evolved to take the new concrete piles needed to support a structure in the choppy Hudson River and continue them out of the water, extending skyward to raise up sections of green landscape. The individual piles come together to form the park's unique topography.

Raising up the pier counteracts this windswept environment and creates a sheltered space acoustically optimised for theatre and performance, with raked seating shaped into the landscape to give the audience better views and better comfort. It also allows sunlight to penetrate below the pier and support the marine ecosystem.

The resulting design developed as a system of repeating piles. Each of them forms a generous planter at their top. every planter then connects in a tessellating pattern at different heights to create a single manipulated piece of landscape resting on 132 pre-cast concrete pots. Construction was sequenced over three years to minimise disturbance to marine life, and more than four hundred different species of indigenous trees and plants suited to the harsh climate of New York have been planted within the new landscape.

As well as creating a new public park for the local community and visitors alike, the 2.4 acre park is a hardworking space that contains an outdoor amphitheatre for 687 people, a smaller performance space for 200, a large plaza, woven through with pathways and viewing platforms. The necessary back-of-house performance facilities are discreetly hidden in the undercroft. The park's programming includes music, dance, theatre, poetry, comedy and arts workshops. A Community Ticketing Programme partners Little Island with the New York City Department of Youth and Community Development and the Department of Education's Office of Arts and Special Projects to distribute free performance tickets to organizations and families throughout the city. This makes sure that that a huge diversity of New Yorkers have access to Little Island's programming. In its first year, over 40,000 free tickets were distributed and thousands of visitors came to this new civic space.

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Heatherwick Studio | Design & Architecture | Little Island

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A multi-award winning British design and architecture studio - buildings, spaces, master-plans, objects and infrastructure.

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Oppenheim Architecture’s Dune-Like Clubhouse Echoes The Rolling Desert Landscape - IGNANT

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In the city of Aqaba in southern Jordan, Oppenheim Architecture has designed the ‘Ayla Golf Club’: an unusual clubhouse with an undulating concrete shell that…

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Atelier Alter Architects tops Sunner Museum in China with curved green roofs

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A trio of sweeping green roofs characterise this agricultural museum in Fujian Province, designed by Chinese studio Atelier Alter Architects to mirror the peaks of the nearby Wuyi Mountains.

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The Theodore Roosevelt Presidential Library, Snøhetta 

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The Theodore Roosevelt Presidential Library, Snøhetta 

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The Theodore Roosevelt Presidential Library

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The Theodore Roosevelt Presidential Library is more than a building; it is a journey through a preserved landscape of diverse habitats, punctuated with small pavilions providing spaces for reflection and activity. The building’s location at the northeast edge of the butte preserves the landscape…

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Architecture, Landscape Architecture, Interior Architecture

Technical details

Hospitality, Park & Garden, Transformation & Expansion

Islands and soft transitions will strengthen biodiversity and provide the city with new areas for recreation and experiences. Illustration: RYTM Studio/Snøhetta

Unleashing the power of the river

The Drammen River has always defined the city as a transport route, power source, and meeting place. Historically, it featured soft banks with islands and canals that reached into the city and the surrounding landscape, but industrialization straightened the river, and hard edges became the norm. By reintroducing islands and soft transitions, we strengthen biodiversity and provide the city with new areas for recreation and experience- restoring a natural edge where urban life and ecological richness meet.

Team Snøhetta, together with Asplan Viak and Bollinger & Grohmann, proposes a transformation that creates a junction between water and land through the introduction of islands and outdoor spaces, providing the city with new leisure and experience areas. A form of urban development that does not merely urbanise, but unleashes the power in the river, in the history, and in the people living there.

Through the interplay between the buildings and the river park, spaces emerge for recreation, spontaneous encounters, open events, and experiences in nature. Illustration: RYTM Studio/Snøhetta

Public venues beneath a green blanket

Beneath the green terrain, shaped like a low-lying pavilion nestled into the landscape, lies a conference hall, black box spaces, and a theater. The public venues are connected by a central foyer-Storstuen-a welcoming public area with large windows facing the river, seamlessly tying the entire ensemble to its surroundings.

In combination with the new outdoor spaces along the waterfront-featuring swimming facilities, saunas, water play areas, kayak rentals, fitness zones, an amphitheater, and an open-air stage-the area will make both experiences and nature easily accessible to everyone.

The hotel is characterized by compact layouts and flexible rooms. High-quality materials are prioritized over unnecessary ornamentation. Illustration: RYTM Studio/Snøhetta.

Material reuse

With its central location close to the new station and the new city bridge, Skamarken has a strong foundation to become a central meeting place with regional attractions.

By transforming the existing Statens hus, the building will be repurposed as a conference hotel, with extensive reuse of material. Brick becomes floor material, windows are broken and remade into new windows, and metal plates are given new life as interior walls. Clean masses, brick, and biochar from wood go into circular soil mixes on the roof.

At the end of the volume, a tower rises - a new and considered landmark for Drammen. A tower is the most efficient choice because its foundations and land use are minimized, while the quality of the spaces is maximized. The top floor will be converted into a sky bar, and the long side facades are clad in curved timber, coloured deep red as a nod to the old factory buildings that stood here before. The facade facing north/east mirrors the river, the weather, and the seasons - giving the building a living expression in tune with the surrounding nature.

An open ground level with multiple entrances, passageways, and informal seating areas creates open and inclusive surroundings. Illustrations by: AtChain/Snøhetta

Future Built-innovation

Skamarken aims to be a hub for innovative solutions that contribute to the green transition. The project also aims to serve as a learning arena - with exhibitions and information that make sustainable practices visible and engaging.

The project wants to enhance Drammen's natural heritage by utilizing valuable species and to contribute to greenhouse gas reduction through locally sourced, circular components. In addition, flood and stormwater will be utilised as a resource via the reuse of rainwater in outdoor areas.

The design explores how surplus heat from the theatre hall and grey-water can be reused for building and water heating, and will employ low-emission materials and the reuse of existing building stock in the development.

2023-

2023-

2017-2025

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On a 17,700 sqm plot directly beside the river, north of the newly refurbished train station, Snøhetta envisions designing an entirely new urban development that reconnects the city of Drammen with the water. The plan seeks to restore the soft riverbanks, along with islands and canals that once e...

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norwegian national opera and ballet, Snøhetta

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norwegian national opera and ballet, Snøhetta

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Architecture, Landscape Architecture, Interior Architecture

Projects

Norwegian National Opera and Ballet

Technical details

Performance Space, Public Space, Art

Statsbygg, The Governmental Building Agency

Photo: Trond Isaksen, Statsbygg

Visual artist Pae White's woven textile curtain for the main theatre.

The perforated cladding in the lobby for the bathrooms was designed by the artist Olafur Eliasson.

The marble roof is designed by the artists Kristian Blystad, Kalle Grude and Jorunn Sannes.

Photo: Jiri Havran

The interior door handles are custom designed, referencing the ramp-like forms of the exterior.

Shanghai Grand Opera House A destination for all

Architecture, Landscape Architecture, Interior Architecture

2017-2025

Busan Opera House An open space for culture

Architecture, Landscape Architecture, Interior Architecture

2012-2024

Times Square Putting the "square" back in Times Square

Landscape Architecture, Architecture

2010-2017

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The opera house is part of Oslo's revitalization strategy to redevelop the city's historically industrial waterfront into an active public space and was the first building to be completed in the Bjørvika area. It is built on piles in the Oslo fjord, abutting reclaimed land that extends Oslo's har...

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In Yabuli, a ski resort in northern China, Ma Yansong’s MAD Architects studio have completed an architecturally top-class congress centre. The client is the China Entrepreneurs Forum, which wants to establish the location as a meeting point for the business elite.

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yokohama port terminal, Foreign Office Architects

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yokohama port terminal, Foreign Office Architects

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In the words of BIG Founder & Creative Director, Bjarke Ingels: "Designing a home for a family is like painting a portrait. A portrait's success lies not only in the artists' ability to express themselves - but rather in their ability to capture the expressions, character, personality, or even the soul of those being portrayed. As an architectural portrait, the home is about creating a framework for interests and needs, wishes and dreams, requirements and criteria - in short - the life the family wants to live."

In Villa Gug, located in its namesake city Gug in Northern Denmark, the clients' passion for cars plays a major role in the family's life, taking up a significant portion of the housing area. Instead of hiding the cars away in a basement, or a large garage, BIG designed a house that smoothly transitions from the car to the home.

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BIG has grown organically over the last two decades from a founder, to a family, to a force of 700. Our latest transformation is the BIG LEAP: Bjarke Ingels Group of Landscape, Engineering, Architecture, Planning and Products. A plethora of in-house perspectives allows us to see what none of us would be able to see on our own.

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Hungarian Natural History Museum, Bjarke Ingels Group

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Hungarian Natural History Museum, Bjarke Ingels Group

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Bjarke Ingels — Creative Director and Founder, BIG

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Hungarian Natural History Museum | BIG | Bjarke Ingels Group

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BIG has grown organically over the last two decades from a founder, to a family, to a force of 700. Our latest transformation is the BIG LEAP: Bjarke Ingels Group of Landscape, Engineering, Architecture, Planning and Products. A plethora of in-house perspectives allows us to see what none of us would be able to see on our own. The sum of our individual talents becomes our collective creative genius. A small step for each of us becomes a BIG LEAP for all of us.

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museum audemars piguet, bjarke ingels group

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museum audemars piguet, bjarke ingels group

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Come and visit us in the Vallée de Joux, Switzerland, to experience our watchmaking heritage in our new museum, the Musée Atelier Audemars Piguet.

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Review: LACMA’s new hunk ‘Levitated Mass’ has some substance

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The attention given to Michael Heizer’s ‘Levitated Mass’ at LACMA has many anticipating a masterpiece or a fiasco. But it’s not that simple.

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on this server.

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Starchitects - Who are they and how to become one?

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Floor plan of Stage 9

The standing sets of Star Trek were built on Stage 9 of Desilu Studios, which would later become Paramount. The permanent rooms were the bridge, briefing room, Captain Kirk's quarters, engineering, transporter room and sickbay complex. All other sets, like the ship's chapel, recreation room and gymnasium, were redresses of those rooms.

Besides the bridge, the most recurring set was sickbay. The script of the first episode, "Where No Man Has Gone Before," described it as a "small hospital" with furnishings that are comfortable, "not the usual Spartanish hospital type."

The doctor's office has direct access to a ship's corridor. There is access from his office to an examination room, also to sickbay proper. Access to sickbay can also be made directly from the corridor. Within the sickbay, there are built-in bed positions with a complete diagnostic panel above each. This medical device scans the patient continually, takes readings, and registers same upon the diagnostic panel instrument face. Thus, blood pressure, pulse rate, heartbeat, respirations, and various other readings are continuously recorded and displayed for each patient without the necessity of physical contact between doctor and patient. Adjoining the doctor's office is a medical lab.

Matt Jefferies designed these sets, as he did most of the interiors that appeared on Star Trek.

Concept art for Pike's quarters by Franz Bachelin

On-set photograph of Captain Pike's quarters in "The Cage"

Concept art for Kirk's quarters by Matt Jefferies

Concept art for engineering by Matt Jefferies (Set Blueprint Archive)

Rereation room concept art by Matt Jefferies (Set Blueprint Archive)

Concept art for sickbay by Matt Jefferies

Franz Bachelin designed the captain's quarters for "The Cage". They notably included a television set. When "The Cage" was rejected by the studio but Gene Roddenberry was asked to produce a second pilot, Jefferies came up with a look for Kirk's quarters that was in keeping with his overall style.

Apocrypha

In his Star Trek Star Fleet Technical Manual (1975), Franz Joseph includes floor plans of a stateroom and medical section, which includes such unseen facilities as dental units and therapeutic baths. Since Joseph had access to the show's blueprints, his floor plans match those of the sets.

Floor plans of a stateroom and the medical section from Star Trek Star Fleet Technical Manual

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The standing sets of the original Star Trek were largely designed by Matt Jefferies.

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Cinema e Arquitetura: “As Crônicas de Riddick”

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O personagem de Richard B. Riddick viu seu nascimento no ano de 2000 dentro do filme de baixo orçamento “Pitch Black”…

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From a trash-filled Earth to the futuristic Axiom and back again, WALL·E is a finely crafted balance between consumerist dystopia and sixties space-race optimism. Please join me, then, for a detailed dive into the uniquely robotic future of a remarkably human film, as seen through the eyes of its eponymous hero, WALL·E.
[This article is from the Typeset in the Future book, which is really very good and you're probably going to want to buy a copy of. If you'd rather read the article first, don't worry-I'll remind you again later on.]
Before we get started, there is an important detail we must clear up. Our hero's name is not, as you might think, WALL-E. Moreover, it definitely isn't WALL*E. His name is WALL·E, and that dot is an interpunct, not a hyphen or a bullet.

An interpunct is, of course, a vertically centered dot originally used to separate words in Latin and ancient Greek. (Spaces weren't invented until several centuries later.) The interpunct is still in use today-it's the official decimal point in British currency (£9·99), and is used to represent the dot product of two vectors in mathematics (x · y). Most relevantly, it's used in Japanese to separate titles, names, and positions, as in "課長補佐 · 鈴木" (Assistant Section Head · Suzuki). It is therefore entirely appropriate as the separator in WALL·E, which is short for Waste Allocation Load Lifter · Earth Class.

The bold extended typeface seen on WALL·E's front plate is Gunship, designed by Dan Zadorozny, one of the unsung heroes of modern sci-fi type design. Dan is an amateur type designer from Texas whose Iconian Fonts website features more than six hundred free hand-crafted typefaces, many of which have been used by sci-fi movies, TV shows, and book designers.

In addition to WALL·E's front plate, Gunship is seen on Earth and aboard the Axiom, the flagship spacecraft of megacorporation Buy n Large (BnL, for short), most notably for robot-facing wall and door typography. Its upper- and lowercase variants include different combinations of cutouts and curve orientations, giving designers flexibility when crafting robot signage. (Strictly speaking, this means that our hero's name, correctly capitalized, is "waLL·e," with the interpunct as a further customization-Gunship's own interpunct is rectangular.)

The movie begins with an insight into WALL·E's typical workday, which is spent building gigantic piles of trash by compacting waste into neat, stackable cubes. After a hard day's crushing, we follow him on his journey home, learning some useful exposition along the way. This includes a bank of electronic ads for BnL, promoting everything from liquid air to quadruple-patty burgers. Common throughout these ads is an insistence on immediate consumption-"DRINK NOW," "HUNGRY NOW," "RUN NOW," "CONSUME." And if consuming a product once isn't enough, you can repeat the experience a second time-the signage seen below includes ads for both "100% Reused Food" and "Regurgi-Shake: Twice the Flavor."

We've seen how corporate mergers, such as Alien's Weylan Yutani and Blade Runner's Shimata-Dominguez, are an inevitability in sci-fi futures. WALL·E 's Buy n Large is similar, except that this company was formed by a merger between a frozen yogurt manufacturer (Buy Yogurt) and a maker of suits for the larger gentleman (Large Industries). Clearly a marriage made in heaven, this corporate combination led to a rapid expansion, culminating with Buy n Large owning every company and government in the world.

The Buy n Large logo is an over-italicized customization of Futura Extra Bold Oblique, as demonstrated by a super-distinctive capital G in the BUY N LARGE BANK logotype that WALL·E passes early in the movie.

If the red-and-blue logo feels familiar, it shouldn't be a surprise-it's because BnL uses the exact same typeface and color scheme as real-world retail giant Costco Wholesale Corporation.

There's another curious BnL subsidiary to be found among the city's electronic ads, on a beaten-up billboard advertising "Eggman Movers (Creating More Space)." This company is an Easter-egg reference to WALL·E production designer Ralph "Eggman" Eggleston, and it shares the name of the moving company from 1995's , for which Ralph was art director.

The presence of a Buy n Large-branded bank means Buy n Large-branded banknotes, which are unusual for being strewn across the floor of the deserted city. If you look closely at the notes, you'll see that some of them have "10 ⁶" in the corner, and are marked "ten million dollars." Others look to be marked "99 ⁶," suggesting that Buy n Large stores continued the classic $9.99 pricing trick even after adding six zeroes to the end of everything. (Indeed, it says much about the Buy n Large approach to consumerism that it prints notes with the 99s already included, to avoid customers having to receive any change.)

We discover later in the movie that the Axiom left Earth in the year 2105. This suggests that in the preceding years of overconsumption there was a period of severe hyperinflation, making a $10 million note a necessity. This is not without historical precedent- Earth's most extreme example of hyperinflation occurred in Zimbabwe in November 2008, just a few months after WALL·E 's release, when the inflation rate for the Zimbabwe dollar reached a staggering 79,600,000,000 percent per month. At this point, a single US dollar was equivalent to 2,621,984,228 Zimbabwe dollars. The largest-denomination note printed during this time was the $100 trillion note, which makes Buy n Large's $10 million bill seem like small change by comparison.

WALL·E leaves the bank behind and continues his journey via the disused tracks of the BnL Transit monorail system. In the absence of working trains, these concrete tracks provide a convenient route through the middle of the deserted city.

Despite their association with aspirational futures, monorails have been failing to become a global mass-transit system for almost two hundred years. The first passenger monorail opened in 1825 in Cheshunt, England, primarily to transport bricks, though it was also utilized for transporting people, mostly for novelty purposes. Unlike the top-of-rail system seen in WALL·E, Cheshunt's monorail consisted of carriages suspended beneath an overhead track, and was powered by a single horse.

The Cheshunt style of monorail-with suspended carriages hanging beneath a single rail-was also adopted by the Wuppertal Schwebebahn, which began operation along the Wupper River in Wuppertal, Germany, in 1901. The Wuppertal's suspended system is still in operation today, carrying more than sixty-five thousand passengers on an average weekday.

The monorail seen in WALL·E is of the style popularized by Swedish entrepreneur Axel Wenner-Gren, whose prototype ALWEG ( Axel Lennart Wenner- G ren) monorail system came to the attention of Walt Disney after a family visit to Wuppertal gave him monorail fever. Disney saw the potential for a monorail attraction at his new Disneyland theme park in California, and the Disneyland-ALWEG Monorail System opened in June 1959. The system remains in operation today (under the name Disneyland Monorail), and there are similar attractions at Disneyland Tokyo and Walt Disney World in Florida. In total, Disney monorails have transported more than one billion passengers into an aspirational transportational future.

It's not entirely clear what US city WALL·E lives in, but the presence of a monorail network certainly positions it as a location that was once optimistic about the future. This mid-century futurism is borne out by other architectural features of the city, most notably a curved building seen among the billboards encountered earlier. This building is strongly reminiscent of the Space Needle observation tower in Seattle, Washington, which was built for the city's 1962 World's Fair, together with an ALWEG monorail system that is still in operation today.

Near the monorail, WALL·E passes a promotional poster for himself, with the caption "Working to dig you out!" This poster has definite communist propaganda undertones, showing a stylized army of WALL·Es working together to build a brighter future. The implication of this design choice-that communist values are the solution to decades of rampant consumerism-is a pretty bold political statement for what is only the fourth minute of the movie.

The future to which these WALL·Es aspire is apparently just above and behind the viewer-a common trope for communist propaganda, where the aspirational group gaze is almost always in this direction.

Indeed, this gaze is such a common trope that it became the primary styling of the promotional poster for 2014's banned comedy movie The Interview, in which two Americans travel to North Korea to interview the country's leader, Kim Jong-un. (The WALL·E poster's bottom-edge caption, punctuated by an exclamation mark, is a recurring design feature in North Korean propaganda posters.)

This aspirational style is an example of socialist realist design, the officially sanctioned visual aesthetic of the Soviet Union, which positioned broad-shouldered, purposeful workers as the true heroes of the age. As a robot who is literally a rectangle, there is surely no worker more broad-shouldered and purposeful than our movie's eponymous hero, WALL·E.

WALL·E's self-promotional poster is also a fine example of Handel Gothic, one of the movie's supporting typefaces. Originally designed in 1965 by Donald J. Handel, the font has become a mainstay of design futurism. (Indeed, it is quite possibly the originator of one of our rules for futuristic type: Make straight things curved.)

My favorite use of the typeface in WALL·E occurs later in the movie, when we see the distinctly curved E of some Handel Gothic... on a handle. (I refuse to believe this is anything but a deliberate typographic joke.)

Handel Gothic enjoyed a particular resurgence when the type family was expanded in the 1980s, and will be immediately familiar to anyone who visited EPCOT Center at Walt Disney World in Florida, which opened in 1982. (Later in this article, we'll look in detail at the theme park, which is now named simply Epcot.) The original EPCOT Center logo was Handel Gothic all the way, making particularly good use of a lowercase n in "Center" to bring some extra curviness, and choosing a font variant with a curved leg in its R for consistency. (It also added letter joining and slicing for good futuristic measure.)

Handel Gothic will also be familiar to Star Trek fans, from its appearance in the credits for both Star Trek: Deep Space Nine (1993-99) and Star Trek: Voyager (1995-2001).

The movie that made Handel Gothic synonymous with sci-fi, however, was almost certainly Steven Spielberg's Close Encounters of the Third Kind, released in 1977. Close Encounters used the typeface for its theatrical poster and for its opening credits, with the very words "Close Encounters" offering not one but three opportunities to recognize Handel Gothic's trademark E.

But back to WALL·E's journey. Toward the end of his trek home, he passes many more WALL·E units, all of them rusted and dead. The sole remaining WALL·E happily cannibalizes a Caterpillar track from a nearby broken unit to replace his own damaged part, and motors onward with the new track in place.

It's an easy detail to miss, but WALL·E's home is a broken-down "BnL WALL·E Transport" vehicle, which may once have housed all the dead units he just passed. When he reverses himself into a WALL·E-size bin in a rotatable storage rack a few minutes later and rocks himself to sleep, his loneliness as the last robot on Earth is made all the more acute by the uninhabited bins around him, now filled with ordered trash.

Before he climbs into bed, WALL·E retrieves his favorite VHS cassette from a nearby toaster, and pops it into a VCR. It turns out this is a beaten-up copy of Hello, Dolly!-1969's awkwardly punctuated Jerry Herman musical. Delightfully, the typography of this cassette is taken directly from the movie's 1991 VHS release, though the identity of its non-futuristic title font-half Century Schoolbook, half Benguiat Caslon -has sadly eluded my detective skills.

WALL·E watches his Hello, Dolly! cassette via a small, portable device that looks almost exactly like an Apple iPod Video. I say "almost," because the real-world iPod Video had a smaller click wheel than the one seen in WALL·E, had white labels on its buttons, and did not support external playback from a VHS cassette player. Nonetheless, this iPod is just one example of many in WALL·E's home that evoke nostalgia for gadgets past, reinforcing that WALL·E himself is the discarded, unwanted technology that humanity left behind.

To work around the tiny scale of his iPod's screen, WALL·E uses a plastic Fresnel lens as a magnifying device to enlarge the image to several times its original size. In doing so, he follows a trend started in Terry Gilliam 's similarly dystopian , in which employees at the Ministry of Information Retrieval huddle around tiny CRT screens to watch westerns through Fresnel lenses when their boss isn't looking.

WALL·E awakes from robotic sleep on day two of the movie, low on power and dynamism. The fact that his head is a big pair of binoculars gives a great opportunity for a visual gag, as we see him literally bleary-eyed before activating the zoom lock on first his left eye, then his right, to reveal an eye-test chart in the opposing rack.

WALL·E's binocular form is mimicked in the shape of his heads-up display (or HUD), which has the classic "two circles" shape used in many movies to indicate that we are looking from a character's viewpoint through a pair of binoculars. This HUD raises an interesting question, however. Why does WALL·E have a heads-up display, with information overlaid on a video stream? A heads-up display really makes sense only if you are a human who has eyes; for a robot, any video input is combined with additional metadata from environmental sensors (such as direction, zoom, and power), and fed directly into the robot's processor. Overlaying environmental information on a video stream implies that the robot has cameras that look at the world, and then more cameras that look at the augmented output of those cameras, which doesn't make sense at all.

The answer, of course, is that WALL·E has a HUD because movie robots have HUDs, and movie robots have HUDs because they enable the viewer to visualize what the robots are thinking, even if it makes zero sense in technical reality. This trope began in 1973's , whose final act shows us the world from the vantage point of Yul Brynner's gun-slinging robot. Although Brynner's HUD is not augmented with data, it is nonetheless the first use of computer-generated imagery in a feature film. Director Michael Crichton cuts several times from a real-world scene to the robot's pixelated version of the same, including a thermal image when Brynner chases his prey in the movie's final act.

Westworld's "robot viewpoint" trope was codified by 1984's The Terminator and 1987's , both of which augmented their HUDs with additional data and text. Following these two movies, a heads-up display pretty much became the de facto expectation for any on-screen robot whose motives need to be understood.

Pixar's robot HUDs tend to include the shape of the robot's eye(s) within the heads-up display, to help us associate the HUD with the character it represents. The Incredibles' Omnidroid predates WALL·E's binoculars in this regard. Other WALL·E robots-M-O, SECUR-T, and EVE-also follow suit.

Pixar's neatest variation on the robot HUD trope occurs all the way back in 1999's , where a plastic toy's marketing gimmick (plus some clever camera framing) enables us to literally see through the eyes of the movie's robotic bad guy.

There is one further question raised by WALL·E's binocular HUD. How does his directional compass-seen at the top center of his HUD-continue to work when he is aboard the Axiom? Lots of planets may have a north, but the same is not true of spacecraft-north, south, east, and west make sense only when you're on the surface of a sphere.

Day two (and act two) of WALL·E see a Buy n Large scout ship arrive on Earth, disrupting WALL·E's routine. Most importantly, it introduces us to EVE, who is everything WALL·E is not. EVE's shiny white design is technologically advanced; she's the curvy iMac G4 to WALL·E's boxy Mac 128K. Her design evokes sleek Apple products of the 2000s, with her head, in particular, highly reminiscent of a 2002 iMac G4's base. Even her reboot sound is a futuristic take on Apple's famous startup chime, whereas WALL·E's post-charge chime is the version Apple introduced in 1998 and removed altogether in 2016.

EVE's evocation of Apple product design is not entirely coincidental. In a 2008 interview with Fortune magazine, director Andrew Stanton stated: "I wanted EVE to be high-end technology-no expense spared-and I wanted it to be seamless and for the technology to be sort of hidden and subcutaneous. The more I started describing it, the more I realized I was pretty much describing the Apple playbook for design." This led to a 2005 call to Steve Jobs-at that time, both owner of Pixar and CEO of Apple-which in turn led to Apple design head Jony Ive spending a day at the Pixar headquarters in Emeryville, consulting on the EVE prototype. (It is surely entirely coincidental that EVE's wireless arms and hands are reminiscent of Apple's wireless Magic Mouse, released the year after WALL·E.)

During a dust storm, WALL·E takes EVE back to the safety of his home, where he presents her with a small multicolored cube. In the three seconds the camera pans away for WALL·E to retrieve Hello, Dolly!, EVE solves the Rubik's Cube and returns it to her astonished host.

EVE's cube-solving time would be impressive for a human; the current world record is 4.22 seconds, set by Feliks Zemdegs in May 2018. Sadly, because of the camera pan, we'll never know if EVE broke the world record for a robot, which currently stands at a mind-boggling 0.637 seconds. This record was set in November 2016 by Sub1 Reloaded, a cube-solving robot built by German engineer Albert Beer. Six high-performance stepper motors turned the cube twenty-one times to complete the task, averaging just 0.03 seconds per rotation.

Spare a thought, then, for poor WALL·E. His surprise at EVE's accomplishment is understandable-he lacks color vision and has only three digits on each hand, which means that Rubik's Cubes are really not his specialty. (There's a reason Guinness doesn't have a "fastest dog" Rubik's Cube category.)

One other point of note: This scene is the only time the color green appears in WALL·E in a scene unrelated to a plant. While this breaks the movie's careful color scripting, it's worth it for a good gag.

All seems to be going well with WALL·E and EVE's introductions, until they are rudely interrupted by EVE's spotting a plant that WALL·E has excavated from the trash. She subsumes the plant, as per her "directive," and enters hibernation mode. WALL·E's attempts to wake her invariably end in comedic pain, though one of them does reveal EVE's serial number, 051682, set in Handel Gothic. (I can't help but wonder whether someone in Pixar's art department was born on May 16, 1982.)

WALL·E gives up on reviving EVE and disconsolately returns to his trash-crushing routine. Shortly afterward, the Axiom's scout ship returns to Earth and collects EVE to take her home. Desperate not to lose his new friend, WALL·E hitches a ride on the outside of the scout, causing him grief when the ship blasts through Earth's surrounding satellite trash. As the satellites fall away, we see that WALL·E has a Soviet-era satellite on his head. This is impressive, especially given that Sputnik 1 -the first man-made object to orbit Earth-burned up on reentry to Earth's atmosphere in 1958.

We see Sputnik 1 again later in the movie, as a model in Captain McCrea's display cabinet. This model is accompanied by a NASA space shuttle launch/entry helmet, as worn by space shuttle astronauts between 1982 and 1986 during launch and return from space.

This "retro space tech" theme can also be seen on Earth during EVE's scan for plant life. After scanning a Toy Story Pizza Planet truck and a portable lavatory, EVE checks a rusting Apollo command module before slamming the door shut in disgust at its absence of plant-based life.

Showing recent space technology as trash or as museum pieces positions our personal experiences of space as archaic and quaint in comparison to the Axiom's futuristic styling. This further reinforces WALL·E's own obsolescence as a discarded piece of technology, and sets us up neatly for a transition to the shiny futurism of the Axiom.

The Axiom paints a vision of the future where every menial task, no matter how small, has a dedicated robot created expressly for the purpose. Like 2001: A Space Odyssey's HAL and Alien 's MU/TH/UR, all these robots have cute acronyms to make them human-friendly.

Of particular note is VN-GO, the painterbot, whose acronym perpetuates a common yet incorrect pronunciation of Dutch painter Vincent van Gogh's surname. ( According to the BBC Pronunciation Unit, it is "van Gokh," with the kh pronounced like the ch in the Scottish word loch.)

EVE's acronym, sadly, is even worse. Her denomination as Extraterrestrial Vegetation Evaluator could not be more inaccurate, given that her entire reason for existing is to evaluate vegetation on the planet Terra (as Earth is known in Latin). Presumably, her moniker was chosen for cuteness rather than linguistic accuracy-after all, this movie is about WALL·E and EVE, not WALL·E and TVE.

Also of note is TYP-E, a typingbot who is designed solely to press keys when someone approaches the elevator shaft to the captain's quarters. TYP-E provides an excuse for one of the movie's best visual gags-as a robot, he has a keyboard made entirely, of course, from ones and zeroes.

M-O's cleaning colleagues (VAQ-M, SPR-A, and BUF-4) may bring back memories for fans of 1997's The Fifth Element. In Luc Besson 's over-the-top vision of the future, evil industrialist Zorg demonstrates his own array of task-specific robots by dropping a glass tumbler on the floor to trigger their "lovely ballet." As two sentrybots stand guard, a sweeperbot, a spraybot, and a bufferbot clean up his mess before returning to a nearby storage station.

The Axiom's robots travel around the ship via their own dedicated corridors, separate from the craft's passenger areas. These passenger areas are split into three classes-economy, coach, and elite-each of which has a distinct architectural style. The classes themselves do not play a functional role in the movie's plot, but one has to wonder what they mean for the Axiom's society. Are children born into the classes their ancestors originally purchased, as if into some kind of futuristic caste system? Would the Axiom have its own moment if a passenger from economy bumped hover chairs with someone from elite? One thing's certain: The styling of each class is extremely useful for helping viewers orient themselves within the ship's overall structure as the action moves back and forth along its length.

Our introduction to the passenger area starts with the economy deck, which is compact, angular, and concrete in texture and color. Its palette is deliberately sparse, rarely moving outside the Buy n Large blue, red, and white, and making extensive use of the corporation's Futura Extra Bold Oblique.

The deck's design is highly reminiscent of the interior of the Contemporary Tower at Walt Disney World Contemporary Resort, whose A-frame concrete-and-steel structure was so futuristic when it opened in 1971 that it even had a monorail running through the middle. (As anyone who has stayed at the Contemporary can attest, however, its rates can hardly be considered "economy.")

The coach deck, unlike the economy deck, is curved, eclectic, and spacious, with brightly colored holo-ads scattered everywhere. It mimics Las Vegas's Strip in gaudiness and style, with artificial neon colors used extensively and every sign encouraging Axiom passengers to spend more money. (How the ship's financial economy continues to function after a seven-hundred-year flight continues to remain a mystery.)

The ceiling of the coach deck is a gigantic animated screen that can switch between day and night, complete with a BnL-branded sun or moon. The ceiling's relationship to actual time is somewhat tenuous, as we see when Captain McCrea winds the sky back from 12:30 p.m. to 9:30 a.m. in order to make his morning announcements. In this regard, the ceiling is essentially an amalgam of two Las Vegas landmarks: the painted cloud ceilings of the Forum indoor arcade at Caesars Palace, whose lighting ebbs and changes without ever making it nighttime enough for you to want to stop buying things, and the four-block-long overhead screen of the Fremont Street Experience-the world's largest video screen-whose 12.5 million LEDs illuminate Vegas partygoers every night. The result is an entirely fake sky for the Axiom 's population, allowing finely tuned control over their artificial environment.

The coach deck leads to the elite deck, whose styling resembles that of a high-class lido or spa. Despite their very different palettes, the coach and elite decks share a curved, futuristic environmental styling that unifies their overall architecture. According to production designer Ralph Eggleston, the architecture of this shared area is inspired by the work of architect Santiago Calatrava, whose signature curved supports and arches can be seen throughout both decks' central concourse.

The other main influence for the Axiom's architecture is the design of the Tomorrowland area of Disneyland, in California. According to production designer Ralph Eggleston, during the movie's production WALL·E's design team visited an exhibition of Tomorrowland concept art and took inspiration from the designs therein. Perhaps the most obvious of these influences is the presence of a PeopleMover transportation system running through the middle of the club and elite decks, in a style very similar to the PeopleMover at Tomorrowland. (Do check out DaveLandWeb's fantastic PeopleMover photo page for some great examples of the original in action.)

The evolution of Disney's PeopleMover concept began with the 1964-65 New York World's Fair, for which the Ford Motor Company asked Disney to design an attraction to compete with General Motors' Futurama II exhibit. The resulting Magic Skyway gave fairgoers an opportunity to ride in a driverless Ford convertible -including the just-launched Ford Mustang-through a diorama that transported them from prehistoric times to a futuristic space city.

Following its success at the World's Fair, the traction system behind Magic Skyway was adapted into a new feature for Tomorrowland's 1967 relaunch. The new attraction, known as the WEDway PeopleMover, enabled Walter Elias Disney to follow Axel Lennart Wenner-Gren (of ALWEG monorail fame) in naming a futuristic transportation mechanism with his initials. It also provided an ideal inspiration for the Axiom 's central transport system.

The Axiom's PeopleMover has much in common with its WEDway counterpart. Both are focused on a main circular loading area in the heart of a central plaza, with a long, straight stretch of track extending away from the loading deck. Both give passengers a tantalizing view of surrounding attractions as they are transported from one area to another. Indeed, I am sure Walt Disney would have been delighted to see his dream of future transportation integrated into the Axiom's space-age environment, especially given that Disneyland's PeopleMover was a prototype for Walt's grander vision of futuristic living. Walt planned to build a larger PeopleMover installation as part of his Experimental Prototype Community of Tomorrow, or EPCOT-a new and futuristic city to be created from scratch at his planned Disney World Resort in Florida.

In October 1966, Walt recorded a short film pitching his "Florida Project" to industrialists and legislators, including a detailed description of EPCOT's transportation system. In this new city, cars and trucks were to be pushed underground, with the community's twenty thousand residents instead traveling by WEDway and monorail to work, play, and socialize. The concept images below from Walt's EPCOT film give an idea of just how much imagination the creative brains at WED Enterprises applied, under Walt's careful guidance, to everyday living challenges.

Tragically, Walt Disney died less than two months after his EPCOT introduction was filmed, passing away before the pitch was screened and before New Tomorrowland opened to the public. His ambitious vision of a prototype community did not become a reality, but its name lives on in the Epcot theme park (formerly "EPCOT Center") at Walt Disney World in Florida-although the eventual EPCOT park became more of a permanent World's Fair than a real-life city of the future. The WEDway PeopleMover did not realize its potential, either: The Disneyland attraction closed in 1995, to be replaced by the faster (but short-lived) Rocket Rods ride, which itself closed in 2001.

Disneyland park-goers can still see the PeopleMover's abandoned tracks snaking through Tomorrowland, displaying curved, arched supports that Santiago Calatrava would surely approve of. (Thankfully, a PeopleMover can still be experienced at the Magic Kingdom park at the Walt Disney World Resort in Florida, where the Tomorrowland Transit Authority PeopleMover continues to provide a leisurely tour of nearby attractions.)

Of course, the PeopleMover also lives on via the Axiom, whose reimagining of the concept is almost a microcosm of Walt's vision for EPCOT. Aboard the Axiom, it's a PeopleMover (not a monorail) that fulfills the role of high-speed arterial transport, with individual BnL hover chairs completing the "final mile" of the journey via preset illuminated paths (blue for humans, white for robots, red for stewardbots). It may not match the scale of Disney's EPCOT dream, but it's nonetheless fitting that Walt's vision of a transportational future made the trip into space.

During WALL·E's tour of the passenger decks, we discover that the Axiom's computer is voiced by none other than Alien's Ellen Ripley. Casting Sigourney Weaver as the disembodied voice of a space-based computer is clearly ironic, especially given her experience with such voices in Alien and Aliens. WALL·E ups the irony by having Weaver narrate not one but two scenes that would feel all too familiar to her xenomorph-hunting counterpart, triggering bonus space-peril associations for Alien fans. (Weaver also plays a disembodied voice in Andrew Stanton's Finding Dory, aping her narration of nature documentaries.)

Alien and Aliens are not the only sci-fi movies to get a nod from WALL·E. On the Axiom bridge, we meet AUTO, the ship's autopilot robot. It might be hard to believe just by looking at him, but AUTO is actually an Evil Space-Based Computer. His design is clearly influenced by a certain other ESBC-that central red eye is a direct reference to 2001: A Space Odyssey 's HAL, giving an immediate signal that this robot is not to be trusted.

AUTO's physical similarity to HAL gives him a practical similarity, too. On the rare occasions we see the world from AUTO's vantage point, we get an extreme fish-eye view of the surrounding area, just as we did for HAL in 2001. WALL·E combines HAL's fish-eye view with The Terminator 's red HUD hue, making AUTO's evil intent doubly clear to any discerning fan of sci-fi.

AUTO and HAL belong to a long-standing tradition of sci-fi automata whose glowing red eye(s) give away their evil nature. They really are everywhere in sci-fi movies-from the Model 101 in The Terminator, via the replicants in Blade Runner, to the evil wriggly thing inserted into Neo's belly button in .

That red glow has its benefits, however. You can always tell when an evil robot has been finally defeated from the fact that its red eye(s) slowly fade to black. The Terminator's T-800, The Matrix's wriggly thing, and WALL·E 's AUTO all follow this trope when deactivated.

AUTO may look like the movie's bad guy, but his actions are simply an example of artificial intelligence following its programming too literally. To understand his motives, we must remember that BnL's original plan was for its star liners to return to Earth as soon as an EVE probe found proof that life was once more sustainable. Five years after their departure, however, BnL autopilots were sent a directive by CEO Shelby Forthright telling them to keep their craft in space indefinitely, because the cleanup process on Earth was not going to succeed. Six hundred and ninety-five years later, with no subsequent instructions to the contrary, AUTO is simply following this command to the letter, blocking any and all attempts to return to Earth.

In this regard, AUTO is eerily similar to 2001's HAL, whose murderous tendencies aboard the Discovery were similarly driven by an inability to reconcile a contradiction in his programming. In the movie's sequel, 2010: The Year We Make Contact, we learn that the basic purpose of HAL's design was "the accurate processing of information without distortion or concealment." We also discover that HAL was instructed (via Directive NSD 342/23) to lie to Dave and Frank about the real reason for the Discovery 's mission. After lip-reading that they planned to disconnect him, HAL determined that the only logical way for him to both keep processing and avoid lying was for Dave and Frank to die.

AUTO's own instruction is Directive A113, whose numbering may sound familiar to Pixar fans. " A113" appears in every Pixar film, from a family license plate in Toy Story to an underwater camera model in Finding Nemo. (Indeed, it's even in , where the roman numerals ACXIII appear carved just above the front door of a witch's hut.) The reason for its repeated inclusion is that room A1-13 was the classroom for the Character Animation Program at the California Institute of the Arts, where Pixar alumni John Lasseter, Pete Docter, and Andrew Stanton studied. (This explains why it's also the number on the door of Riley's classroom in , and on the Scaring 101 classroom door in Monsters University.) WALL·E may be its highest-profile outing, but it's there in every Pixar movie if you keep your eyes peeled.

The majority of WALL·E's robots are voiced by Ben Burtt, the Academy Award-winning sound designer and creator of R2D2's bleeps. AUTO's voice, however, is provided by MacInTalk, a speech synthesis technology first used to announce the Apple Macintosh computer in January 1984. (You may also recognize MacInTalk as the lead vocalist on Radiohead's "Fitter Happier," from 1997's OK Computer album.)

MacInTalk's inclusion in WALL·E makes it one of only two Apple voice synthesis technologies to star in a feature film; the other is Siri, who provides the voice for 'Puter, Batman's high-tech assistant in The LEGO Batman Movie.

Despite the technology's age, I'm happy to report that MacInTalk voices still ship with macOS today. If you'd like to turn your Mac into an Evil Space-Based Computer, simply open the System Preferences application, select Accessibility and then Speech, and enable the "Ralph" system voice.

In addition to AUTO, there are two more nods to 2001: A Space Odyssey in WALL·E, both of which take advantage of preexisting associations for dramatic or comedic effect. The first is WALL·E's brief escapade in a LifePod, the design of which seems clearly inspired by 2001 's EVA pods. That iconic ball-like shape immediately triggers an association with interstellar peril, which WALL·E soon discovers is entirely justified.

The second 2001 reference is a knowing usage of Richard Strauss's Also sprach Zarathustra, when Captain McCrea becomes the first human to stand up and walk in possibly hundreds of years. It's an appropriate enough use of the music- 2001 's monoliths oversee (and supposedly trigger) several leaps in mankind's evolution, so it's entirely valid to hear those famous chords when the captain makes his first steps (even though this is technically a regression, not an evolution).
Wow! That was good, wasn't it? What an amazing article! So amazing, in fact, that you probably want to impulse-buy the Typeset in the Future book it comes from, right this very second. Here are some convenient links to buy it from Amazon or Barnes and Noble, or you can head down to your local bookstore (which it is much harder for me to link to) when the book is released on December 11 2018.
Of course, WALL·E is not alone in riffing on Strauss's classic melody. It is similarly parodied in Charlie and the Chocolate Factory (as a 2001 monolith turns into a bar of chocolate) and (as Hansel considers smashing Mugatu's iMac with a nearby bone). If that's not enough, it's also in Pixar's Toy Story 2 and , plus other animated movies including Kung Fu Panda 3, The Pirates! In an Adventure with Scientists!, and The Simpsons Movie. On the live-action front, it's in Man on the Moon, , Night at the Museum: Secret of the Tomb, , Turner & Hooch, and Harold & Kumar Go to White Castle, to mention just a few.

Despite AUTO's best efforts, McCrea manages to switch him to MANUAL and sets the Axiom on a hyperjump trajectory back to Earth. The hyperjump looks exactly like you'd expect, which is exactly like the USS Enterprise engaging warp drive in Star Trek: The Motion Picture.

Once again, WALL·E is sneakily using prior sci-fi art as a shortcut, re-creating familiar effects so that the Axiom's quick journey home can be explained without exposition. (It might also account for why everyone aboard the Axiom experiences a brief stint of The Motion Picture 's wormhole effect during the jump.)

As these homages show, WALL·E is not afraid to borrow from its predecessors to gain some free sci-fi association. Indeed, such references are celebrated and elevated, drawing on the production team's clear fondness for vintage sci-fi to create a movie that is both a love letter to the classics and a worthy addition to the list. WALL·E capitalizes on our existing associations with the future to communicate complex plot points and motives with minimal dialogue and text. It is, to my mind, Pixar's most realistic vision of an internally consistent world, despite the polar opposites of its Earth- and space-based environments. It's political and satirical, representing utopia and dystopia with enough humor to poke fun at the downsides of both. In short, WALL·E envisages a future that could so easily be bleak and pessimistic-but is instead inspired by the naïveté of its inhuman heroes to re-create the optimism that took man into space in the first place.

The book also includes an interview with Pixar designers Ralph Eggleston and Craig Foster about the making of WALL·E, plus six more equally amazing movie studies, alongside interviews with Paul Verhoeven (Total Recall) and Mike Okuda (Star Trek). You can read more about it here if for some reason you're still not convinced.

- Dave Addey

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From a trash-filled Earth to the futuristic Axiom and back again, WALL·E is a finely crafted balance between consumerist dystopia and sixties space-race optimism. Please join me, then, for a detailed dive into the uniquely robotic future of a remarkably human film, as seen through the eyes of its eponymous hero, WALL·E.

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The Art That Inspired The Worlds of Aurora Rising — G. S. Jennsen

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We’re going to be visiting a lot of new worlds in Aurora Renegades . While we’re by no means leaving the planets back home in Aurora behind, now that Aurora Rising is complete I thought I’d share some of the spacescapes and futuristic art* that I drew on for inspiration in imagining the varied co

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Não é preciso ser nenhum apaixonado por cinema para já ter ouvido falar a respeito do filme Dune. No Brasil, o longa chegou pelo nome Duna.

Muito aguardado pelo público desde o lançamento do primeiro trailer, o longa se tornou uma febre. Seja por conta do roteiro, da atuação brilhante dos atores ou, até mesmo, devido à arquitetura presente nos cenários.

Isso porque o enredo consiste em um romance de ficção científica, extraído de um livro publicado ainda em 1965. Ele conta a vida humana durante os anos 20.000 em vários planetas.

Assim, se você gosta de design e arquitetura, este é um ótimo momento para entender os detalhes dessa produção. E, quem sabe, se inspirar em seus próximos projetos de interiores. Neste artigo, falamos mais a respeito da ambientação do filme e das suas particularidades. Vamos lá?

Dune: um pouco sobre a história do longa mais esperado de 2021

Após uma grande espera, finalmente, Dune chegou aos cinemas. Criado por Frank Herbert, renomado jornalista e escritor de ficção científica, o roteiro foi adaptado pelo consagrado diretor franco-canadense Denis Villeneuve.

Mas afinal, em que consiste essa história instigante? De modo geral, Dune mostra como é a vida em uma espécie de futuro intergalático.

No período retratado, a família Atreides sai de sua terra natal para cuidar de toda a gestão do chamado planeta Dune. Ao chegar ao local, eles percebem que a região é totalmente deserta. A falta de água é o principal agravante.

Assim, o comando da área é passado para o duque Leto Atreides, personagem que vive um relacionamento com Lady Jéssica, um tipo de maga.

O protagonista de toda a trama, porém, é o filho desse casal, o jovem Paul Atreides. Na região, a população acredita em várias lendas de que um messias chegaria para salvar aquela sociedade. E assim que a família Atreides chega em Dune, automaticamente, todos atribuem ao jovem Paul as características de um Salvador.

Basicamente, a obra tece diferentes reflexões a respeito da relação entre os seres humanos e o meio ambiente. Fora isso, há pontos interessantíssimos em que é possível analisar a temática religiosa por meio de variados pontos de vista.

Outras características de Dune

Também vale lembrar que o longa possui uma estrutura muito similar à de uma peça de teatro. Ao longo da trama, é possível acompanhar diálogos intensos e consistentes, capazes de deixar todo o cenário e a ambientação em segundo plano.

Em paralelo, este foi um roteiro de difícil adaptação, especialmente, pela linguagem utilizada na obra. No livro, há todo um glossário, em que o leitor precisa explorar para compreender cada fala e ação. Interessante!

Tudo o que você precisa saber sobre a arquitetura de Dune

Há tempos, muitos profissionais tentam imaginar qual será o futuro da arquitetura. Afinal, e como notamos ao longo da história, cada época é marcada por um estilo distinto. Seja como for, poucos foram aqueles que conseguiram imaginar algo parecido com o que o desenhista Patrice Vermette criou para os cenários do filme Dune.

Como falamos, a trama se passa nos anos 20.000, com cenas que ocorrem em diferentes planetas. A princípio, as pessoas acreditavam que toda a ambientação aconteceria com o apoio de efeitos especiais. No entanto, Denis Villeneuve instruiu a sua equipe a aproveitar, ao máximo, elementos físicos da natureza concreta.

Com isso em mente, os especialistas desenvolveram o cenário ricos e grandiosos em três planetas distintos. Entre eles: Caladan, o planeta natal de Paul Atreides, Duque Leto e Lady Jessica; Arrakis, uma residência no deserto de um povo chamado Fremen; e Giedi Prime, a casa do vilão Barão Harkonnen.

O processo de criação da arquitetura de Dune

Para obter um resultado repleto de detalhes, Vermette precisou mergulhar na obra. Lá, ele procurou pistas de como seria o estilo das residências, sempre com base nos espaços naturais de cada planeta.

Quer ver só um exemplo? Na cidade de Arrakeen, no planeta Arrakis, as construções possuem um visual extremamente angular. Assim, os ventos de até 750 km/h, como descritos no roteiro, podem pairar sobre essas construções. As casas também são feitas a partir de pedras grossas e, muitas vezes, contam com janelas e demais aberturas grandiosas para favorecer a entrada de iluminação natural.

A influência de diferentes estilos arquitetônicos

Fato curioso: no decorrer do projeto de Dune, inúmeros estilos arquitetônicos foram responsáveis por influenciar o visual das construções de Arrakeen. Entre eles, destacamos a estética dos bunkers - muito utilizados na Segunda Guerra Mundial.

Fora isso, outros elementos ajudaram a fazer com que a produção ganhasse mais personalidade, como foi o caso das pirâmides astecas e egípcias, os zigurates mesopotâmicos, o brutalismo e até a arquitetura brasileira. Juntos, todos esses detalhes foram capazes de fazer com que os cenários de Dune ganhassem um visual jamais visto.

Os detalhes das cenas externas

Muito além das construções, as cenas externas de Dune também precisaram de um cuidado extra ao longo da gravação. Para tanto, diferentes takes foram filmados em diversas regiões do mundo. Esse é o caso da Noruega, que foi a melhor escolha para retratar Caladan - o planeta de água.

Abu Dhabi, por sua vez, conseguiu garantir um céu límpido e incríveis dunas de areia para representar Arrakis. A produção ainda contou com a cidade de Wadi Rum, na Jordânia, para exibir uma paisagem rochosa e de areia virgem, gravando assim, cenas adicionais para o longa.

Desse modo, e após muita pesquisa, os produtores conseguiram um resultado único e que, ao que tudo indica, pode ser um prelúdio da arquitetura do futuro. Inspirador!

E então, gostou de conhecer as particularidades do filme Dune, bem como o seu enredo e como toda a arquitetura foi desenvolvida?

Agora que você já se aprofundou nos diferenciais do longa, não deixe de assistir à produção e, depois, contar para nós todas as suas impressões.

Já se quiser continuar acompanhando outros artigos como esse, siga agora mesmo as páginas da Bergerson no Facebook e Instagram. Nos encontramos por lá!

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Dune traz a arquitetura futurista em meio à paisagem desértica

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Você já ouviu falar em Dune? O filme, que tem conquistado corações, é destaque em arquitetura.

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A arquitetura de Star Wars: visualizações futuristas de uma galáxia muito, muito distante

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Explorando a arquitetura de Star Wars, é fácil notar a presença de estilos arquitetônicos reais nos icônicos locais futuristas.

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Imperial Architecture refers to the unique style of design and construction of the various cities, manufactoria, refinery complexes, habitations, religious spaces and similar groups of buildings that are commonplace amongst the developed Human-settled worlds of the Imperium of Man.

For ten thousand standard years the Imperium has stretched across the galaxy, conquering world upon world, settling them in the name of the Emperor. Upon every planet settled by Mankind are built vast sprawling cities, each one a metropolis teeming with Imperial citizens. The typical characteristics of Imperial architecture include pointed arches, ribbed vaults and flying buttresses.

This so-called " Imperial Gothic" style represents the underlying design ethic of many of the Ecclesiarchy's great cathedrals, abbeys and churches found across the various worlds of the Imperium and is also the preferred style of many Sanctums Imperialis, palaces, town halls, guild halls, universities and to a less prominent extent even private dwellings, such as dormitories and personal quarters.

The Imperial Gothic style is also utilised on the great void-faring vessels of the Navis Imperialis, Imperial void stations, star forts and the Imperial merchant fleets. It is in the great churches and cathedrals and in a number of the grander civic buildings that the Imperial Gothic style is expressed most powerfully, its characteristics lending themselves to appeal to the emotions and devotion in the God-Emperor, whether springing from faith or from civic pride.

Thanks to the Standard Template Construct, buildings of several common types are constructed on most Imperial worlds using locally available materials. Using the designs offered by the Standard Template Construct means that the appearance of a building is determined by its function rather than the materials of which it is constructed.

According to the resource base of the planet in question, this can be stone, brick, wood, coral, volcanic ash, compacted inorganic waste or any of a hundred other materials. Thus, buildings of more or less identical appearance may be found throughout the Imperium, regardless of all considerations other than function.

Since the time of the Great Crusade, Terran engineers aboard the Imperial expeditionary fleets were exported to all of the new worlds brought into Imperial Compliance by the Administratum. As many of these newly unified worlds' populations boomed enormously under the shelter of the Imperium, hive cities designed by those Terran engineers (utilising STC patterns) were built on even the most isolated or backwater planets, even Death Worlds such as Caliban and Catachan. Though for the most part the architecture remains relatively unchanged and easily recognisable, each world tends to incorporate their own unique style based on local cultural influences.

Common Components of Imperial Civic Architecture

Administratum - The complex organisation of the Adeptus Administratum is responsible for the administration of the whole of the Imperium; it manages over a million inhabited worlds in the 41st Millennium. Planetary government buildings, record offices, taxation centres and many more are controlled by the Administratum. They are usually distinguished by the sign of the Imperial Aquila over the main door. Many bloody assaults and valiant defences have taken place in and around urban and planetary government buildings; they are natural command points, and the fall of the Administratum district normally indicates the fall of the city. This building or buildings is often an attacker's primary target.

Auditorium - Most Imperial cities have at least one auditorium, where the populace assemble at great rallies organised by the Administratum and the Inquisition. A visiting dignitary, such as an Inquisitor or a Space Marine commander, will often be requested to lead such a rally. It is common practise to use the main auditorium -- if it still stands -- to announce the "liberation" of a city by one side or the other.

Castra Exercitus - According to the provisions of the Codex Exercitus, every Imperial world has a duty to raise and maintain its own Planetary Defence Force. Additionally, each city or world forms part of a precinct where Imperial Law is enforced by the Judges of the Adeptus Arbites. One or more barracks will be found in most Imperial cities, providing accommodation, training areas and armouries for the forces they house. Much fighting has also always centred around these strongholds.

Chapel - Chapels are found throughout the Imperium, and the illustration above includes a typical example from an Imperial world of pre-industrial or higher technology. On many worlds which fell to the forces of the Warmaster Horus during the Horus Heresy where the unofficial cults of the Lectitio Divinitatus had established chapels to the God-Emperor, these were desecrated and torn down; on some Traitor worlds they had even been turned over to the Feral World Chaos Cults favoured by the Warmaster and his followers. In such cases, during the campaigns of the Great Scouring, the newly-created Inquisition normally demanded the chapel's complete destruction.

Cellarion - No world is an island within the Imperium; each gains something from the rest of the galaxy, and each must pay its way. The worlds of the Imperium provide foodstuffs, machinery, minerals and many other things according to their resources. Few Imperial cities are without vast warehouse complexes where these goods are collected ready for shipment to other regions and worlds, and where incoming goods are placed ready for distribution.

Censorium - Countless clerks and officials labour on a million worlds for the Administratum, most of them confined to dark offices in grim, towering administrative blocks. These buildings house vast quantities of information on their host worlds; population, economy, levels of production and taxation, resources, industrial and agricultural quotas -- the whole of the world is recorded, filed, indexed and updated by an army of bureaucrats. The valuable data in a Censorium can make it a prime target.

Generatorium - A city or industrial complex requires vast quantities of energy, and power supplies are a favourite target for attacking forces. The nature of a generatorium will vary from world to world. Fertile planets often use organic or fossil fuel, while fusion grids and massive plasma reactors are common on industrialised worlds. Solar generators and geothermal energy are also used where local conditions permit. These power sources, and the secrets of their operation, are jealously guarded by the local Adeptus Mechanicus.

Genetorium - Most planets in the Imperium maintain a gene-pool of plant and animal species for terraforming, agriculture, resource management and other purposes. Native species are studied with a view to assessing their usefulness elsewhere, and introduced species are bio-engineered to adapt them for use in local conditions. The Genetors of the [[[Adeptus Mechanicus]] who run these establishments also monitor the genetic purity of the planet's Human population, and cooperate with the Inquisition in their task of rooting out mutation and other undesirable traits.

Librarium - During the terrible wars of the Age of Strife, untold quantities of Humanity's knowledge were lost, and preserving that which remains has become a holy task shared by the Administratum and the Adeptus Mechanicus. In many of the larger cities of the more advanced Imperial worlds, an imposing Librarium building will house thousands of books and digital records, and make them available to those Imperial servants whose rank entitles them to access.

Manufactorium (pl. Manufactoria) - Although much technology was lost during the fifty standard centuries of the Age of Strife, the Imperium is by no means technically backward. Industrial complexes across the galaxy produce billions of items, from clothing to plasma bombs. All of these installations are closely controlled by the Administratum and the Adeptus Mechanicus, and it is not uncommon for the workers in a manufactorium to be completely unaware of the end-product of their labours. The occupation or destruction of the manufactorium or industrial complex can deny precious resources to the enemy.

Mausoleum - For the vast bulk of the citizens of the Imperium, death is not the end of their service to the Emperor. They are quickly forgotten by everyone except the record-keepers of the Administratum and their bodies are recycled into foodstuffs like corpse-starch, fertilisers, and other useful products. More prominent members of a world's society may receive the honour of entombment in an Imperial mausoleum, where the masses may read of their deeds and be inspired by their example. With its halls of entombed heroes, a mausoleum can become the focus of a fanatical defence, and its destruction can deal a severe blow to the Imperial defenders' morale.

Residential ("Habs") - The population of the Imperium is vast, and only the Administratum has the means to begin to estimate it. The bulk of this population lives in cities, ranging from the huge arcology complexes of the Hive Worlds to the smaller garden cities of the more advanced Agri-worlds and the grim tenements of the Industrial Worlds. While worlds and cities may differ, the residential habitation blocks follow a limited number of standard patterns laid down by the Standard Template Construct. Living space in Imperial cities varies widely, according to the local population's wealth and social standing. Most people live in residential blocks of one kind or another, but the living space permitted to an individual can range from a spacious luxury apartment to a cramped and filthy cubby-hole with barely room to turn round. According to the type of world on which it is found and the status of its occupants, a residential block can house a few dozen or several thousand.

Life in an Imperial City

Most cities in the Imperium are dark, brooding places where the countless subjects of the God-Emperor eke out a meagre living. Vast stinking manufactoria filled with grinding machines cause the bones to shudder, while blackened chimneys vomit forth thick, dark clouds of toxic smoke, blocking out the sun itself.

Every Imperial citizen lives a life of perpetual service, slaving away at back-breaking and mind-numbing tasks for twenty solar hours a day, before dragging their exhausted, labour-wracked bodies beneath their benches to snatch a few solar hours of fitful sleep.

The spires of the wealthy and Highborn reach high above the clouds of filth and are filled with such opulence as can scarcely be comprehended by those far below. In these sanctuaries of the privileged, nothing is wanted for and the elite live in ignorance and indifference to the suffering in the streets and factories beneath them.

For every city in the Imperium that might be called typical, there are others that defy the senses and beggar belief. Some of these cities stretch kilometres into the sky, towering buttresses of battered stone and rusting metal, vast hive cities of Human life and inhuman suffering. Others sink hundreds of metres below the world's surface, the populace dwelling in vast caves of rock and ice, while others still float on great lakes of water, acid or lava.

There are cities devoted entirely to the worship of the God-Emperor, where the Cult Imperialis reigns supreme and the rooftops echo constantly to the sound of a million voices raised to hymns and prayer. Hosts of pilgrims gather daily, shuffling on blistered feet down dusty streets dedicated to warriors and Imperial Saints long dead, the city illuminated by the light of a billion votive candles, each a vain prayer to an unseen god.

There are cities given to the administration of Humanity's innumerable population and infinite resources, every inhabitant enslaved to routine and process, every last round of ammunition and grain of wheat accounted for by stone-faced Administratum scribes. There, the true worth of Human life is established by workers jaded by the never-ending monotony of their assigned chore. For most, the cities of the Imperium are merciless and cruel places, where all hope is lost and only mindless subservience remains.

Space Marine (Game) (1st Edition) by Jervis Johnson and Rick Priestly, "Imperial Architecture," pp. 14-15

Warhammer 40,000: Cities of Death (5th Edition) by Andy Hoare, pp. 2, 4-7, 20-22, 54-55

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Imperial Architecture refers to the unique style of design and construction of the various cities, manufactoria, refinery complexes, habitations, religious spaces and similar groups of buildings that are commonplace amongst the developed Human-settled worlds of the Imperium of Man.

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The Citadel, originally known as The Citadel of Ricks, was a trans-dimensional citadel city-state inhabited entirely by Ricks and Mortys from across infinite realities. The Citadel worked like Furp Rock loacted in pocket dimension not related to any reality, you can get here from any dimension of the Central Finite Curve if you fly to the certain coordinates [1]. The Citadel was formed as a secret entity serving to protect Ricks and Mortys from a multitude of accumulated enemies within the…

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Selecionados vencedores de concurso para Colônias na Lua

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Eleven Magazine anunciou os vencedores do concurso “Moontopia”, que pediu aos arquitetos imaginarem uma colônia lunar autossuficiente projetada para…

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SOM apresenta projeto para o primeiro assentamento humano na Lua

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O escritório de arquitetura Skidmore, Owings & Merrill, acaba de apresentar o projeto da primeira estrutura habitável construída pelo homem na Lua.

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Text description provided by the architects. The iconic sphere within a glass cube of the Rose Center for Earth and Space redefines this landmark cultural institution for the twenty-first century. The technical virtuosity and extreme clarity of the curtainwall, the soaring interior space and the articulated spatial experience inspire an appreciation of the wonders of our universe and the power of scientific inquiry.

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Rose Center for Earth and Space / Polshek Partnership (Ennead Architects)

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Completed in 2000 in New York, United States. Images by Jeff-Goldberg, Aislinn-Weidele, Richard-Barnes. The iconic sphere within a glass cube of the Rose Center for Earth and Space redefines this landmark cultural institution for the twenty-first...

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The city of Nüwa is on the slope of one of the Martian cliffs with abundant water access, located at Tempe Mensa. A steep terrain offers the opportunity to create a vertical city inserted into the rock, protected from radiation and meteorites while having access to indirect sunlight.

Nüwa has a population of 250,000 people. Its name has its roots in the mythological Chinese goddess that is the protector of Humans, who melted five stones to give robust societal pillars. Five locations instead of one are chosen to improve resilience, long term easy access to resources, and to add mobility options to the citizens of Mars. For example, Abalos City is located in the North Pole to leverage access to ice and Marineris City is located in the most extensive canyon of the solar system. Although the project divides human settlement into five cities, it offers a highly-scalable and flexible solution that can be implemented in many locations across Mars.

Sustainability, but especially self-sustainable development is at the core of the Nüwa design. For being self-sustainable, a settlement on Mars needs to be able to obtain all resources locally. After a short initial phase relying on capital investments and supplies from Earth, the system should be able to sustain its growth with local resources only.

The main activities are performed inside the cliff, in what are called " Macro-buildings", which are excavations inside the rock of the cliff. These constructions, implemented after tunneling, are modular and include residential and work activities, linked together by a three-dimensional network of tunnels. By giving this standardization, the design ensures scalability and reduces complexity, costs, and construction schedules.

When those tunnels reach the vertical Wall of the cliff, artificially created natural spaces function as buffer zones. They are named " Green-Domes," and there are two types: those that allow human presence and act as parks, and those that include experimental vegetation in an environment with a purely Martian atmosphere.

The "Macro-buildings" on the cliff are connected by high-speed elevator systems, similar to skyscrapers on Earth. This infrastructure also connects the bottom of the cliff with the top and has intermediate stops at the " sky-lobbies ", that connect the "Macro-buildings" with a separate elevating system. At the base and top of the Wall, a system of light trains and buses is used to move in the longitudinal direction of the cliff. City to city transport is done with trains of buses/ wagons on paved roads.

The highest point of the cliff is the Mesa. This vast plain contains the infrastructure dedicated to manufacturing, food production, and energy generation. Agricultural and energy production facilities require direct access to sun radiation but do not need a shield from radiation, as only maintenance personnel and robotics will be operating there. Crop cultivation would be the main food production source, providing 50% of the human diet, while processing CO ₂ into O ₂ and taking part in the water processing system.

Although crops can provide a tastier and more varied diet than microalgae, those are more efficient in terms of space and resource utilization, while also contributing to atmosphere revitalization and water management. Thus, microalgae would be the principal component of the human diet.

At the foot of the cliff, large pavilions have been located for social interaction in the Valley. These pavilions have been designed with translucent skin to offer views of the landscapes of Mars. These domes are protected from external radiation by large overflying canopies. The material from the cliff's excavation is dumped on top of such roofs, protecting from radiation. At the same time, this strategy ensures recyclability even at a large-scale. In the Valley, there are also specific structures to house hospitals, schools and universities, sports and cultural activities, shopping areas, and train stations that communicate with the space shuttle.

Farming areas for animals and insects have been located at the Valley, close to communal city areas, as they need a human-like atmosphere to live. Typical farm animals such as pigs, chicken, or fish would also be included, but would represent a small part of the human diet: such animals are very inefficient but provide a high psychological value.

The landscape is a fundamental element in Nüwa and its sister cities. The location itself, being able to live inside a cliff, is a powerful emotional experience. The integration of the buildings with the landscape transforms the city into a land-art, creating a unique identity for its citizens. Additionally, a rts will be a critical part of Society on Nüwa. Each Macro-Building includes Art-Domes to encourage and inspire the citizens. Recreation facilities engage citizens in physical activities such as sports, games and fitness, social activities, camping, and arts & crafts activities.

For getting from Earth to Mars, a regular shuttle service should be able to function, with launch windows opening approximately every 26 months and lasting between one and three months. For settlers, one Mars ticket will have an approx. the price tag of $300K and it includes a one-way trip, one residential unit of ~25-35 m ²/person, full access to common facilities, all life support services & food, and a binding work contract to devote between 60% and 80% of their work time to tasks assigned by the city.

Nüwa and its sister cities exponentially accommodate their population. After an initial short period of capital investment and supply from Earth, this urban development on Mars maintains and grows by its means and sustainable manner. All the materials required for constructing the city are obtained on Mars by processing Carbon and other minerals.

For detailed information about the project, please visit ABIBOO's Think Tank.

Tempe Mensa, Mars.

Extreme Environments & Townships.

Plot Size: N/A

600 Million Sq. Ft.

Urban Planning, Architecture

Nüwa is the result of the interdisciplinary collaboration of international scientists, European universities, and designers as an initiative from SONet. The founder of ABIBOO Studio is a co-Founder and Board member of SONet. ABIBOO Studio co-sponsored this initiative and headed & coordinated the architecture and urban design.
Design Team:
Preliminary Analysis & Urban Configuration: Alfredo Muñoz; Owen Hughes Pearce

Detailed Architecture & Urban Design: Alfredo Muñoz; Gonzalo Rojas; Engeland Apostol; Sebastián Rodríguez; Verónica Florido

Identity & Graphic Design: Verónica Florido; Engeland Apostol

Video Direction & CGI: Sebastián Rodríguez; Gonzalo Rojas
Project Coordination, Economic model & High-level concepts:
Guillem Anglada-Escudé, Ph.D.; RyC fellow in Astrophysics; Institut for Space Science/ CSIC & Institut d'Estudis Espacials de Catalunya
Co-coordination. Space, Earth-Mars transportation & Socio-economics:
Miquel Sureda, Ph.D; Space Science and Technology Research Group, Universitat Politècnica de Catalunya & Institut d'Estudis Espacials de Catalunya
Life Support, Biosystems & Human factors:
Gisela Detrell, Ph.D; Institute for Space Systems, Universität Stuttgart
Mars Materials & Location:
Ignasi Casanova, Ph.D.; Prof. Civil and Environmental Engineering; Institute of Energy Technologies (INTE), Universitat Politècnica de Catalunya
Manufacturing, Advanced Biosystems & Materials:
David Cullen; Prof. of Astrobiology and Space Biotechnology; Space Group, University of Cranfield
Energy & Sustainability:
Miquel Banchs i Piqué; School of Civil Engineering & Surveying, University of Portsmouth
Mining & Excavation systems:
Philipp Hartlieb; Prof. in Excavation Engineering, Montan Universitaet Leoben
S ocial Services & Life Support Systems: Mars Climate modeling & Environment:
Laia Ribas, Ph.D; RyC fellow in Biology, Institut de Ciències del Mar/CSIC
Contributors:
David de la Torre; Department of Physics, Universitat Politècnica de Catalunya
Financial Sponsors:
Jordi Miralda Escudé (ICREA Prof. in Astrophysics - Ground Transport, UB; Rafael Harillo Gomez-Pastrana (Lawyer, - Political Organization & Space law); Lluis Soler (Ph.D. in Chemistry - Chemical processes, UPC); Paula Betriu (Topographical analysis, - UPC); Uygar Atalay (Location, temperature & Radiation analysis, UPC); Pau Cardona (Earth-Mars Transportation, UPC); Oscar Macia (Earth-Mars Transportation, UPC); Eric Fimbinger (Resource Extraction & Conveyance, Montanuniversität Leoben); Stephanie Hensley (Art Strategy in Mars); Carlos Sierra (Electronic Engineering, ICE/CSIC); Elena Montero (Psychologist); Robert Myhill (Mars science - U. Bristol); Rory Beard (Artificial Intelligence)

CSIC (Consejo Superior de Investigaciones Científicas); ABIBOO Studio; UPC (Universitat Politécnica de Catalunya); Cranfield University; University of Stuttgart; IEEC (Institut d'Estudis Espacials de Catalunya); Montan University Leoben; Institut de Ciencies del Mar; University of Portsmouth.

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Nüwa, the first sustainable city on Mars * ABIBOO Studio

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The city of Nüwa is on the slope of one of the Martian cliffs with abundant water access, located at Tempe Mensa. A steep terrain offers the opportunity to create a vertical city inserted into the rock, protected from radiation and meteorites while having access to indirect sunlight.

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If there was life on Mars, where would people live - and what would it look like?

We set out to design the perfect habitat for space explorers on the red planet as part of NASA's international 3D Printed Habitat Challenge.

Our team, in collaboration with structural engineers Eckersley O'Callaghan (EOC), was shortlisted to design the world's first human home on Mars. In our design, an external shell made from local Martian regolith would be built in advance by autonomous robots before exploration teams arrived to construct the interior - a series of inflatable ​'pods' containing everything for work and life on Mars.

Our aim was to bring a more human element to space design, typically all about maximum efficiency and performance. Our habitat goes far beyond just ticking the boxes for safety and survival. It's a home away from home where astronauts can carry out the most important work in the history of space exploration.

Hassell and EOC were shortlisted as a top 10 entry in the challenge.

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Hassell | NASA 3D Printed Habitat Challenge

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If there was life on Mars, where would people live - and what would it look like? We set out to design the perfect habitat for space explorers on the red planet as part of NASA's international 3D Printed Habitat Challenge. Our team, in collaboration with structural engineers Eckersley O'Callaghan...

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AI SpaceFactory has released details of their proposed cylindrical huts for the Planet Mars, designed as part of the 3D Printed Habitat Challenge organized by NASA. Project MARSHA (Mars HAbitat) was endorsed by NASA with a top prize of almost $21,000, one of five designs selected from a field of seventeen.

The competition asked participants to design an effective habitat for a crew of four astronauts to be located on the Red Planet, using construction techniques enabled by 3D printing. The submitted schemes were then ranked based on their innovation, architectural layout, and level of detail in BIM modeling.

According to AI SpaceFactory, MARSHA represents a "radical departure from previous habitat schemes typified by low-lying domes or buried structures." Instead, MARSHA adopts a vertically-orientated cylinder, the result of a series of spatial and efficiency studies. The shape permits the habitats to be highly effective vessels optimized for Mars ' atmospheric pressure and structural stresses, as well as providing a greater ratio of usable floor area to volume.

MARSHA relies solely on materials harvested from the surface of Mars during construction. Formulating an innovate mixture of basalt fiber (derived from the planet's surface) and renewable bioplastic ( derived from plants grown on Mars) the scheme eliminates the need for material transportation from Planet Earth. The construction process is also aided by the cylindrical form of the habitat, presenting the most printable pressure vessel with a reduced need for mobility.

To enable expansion and contraction in response to Mars ' drastic thermal swings, MARSHA is anchored to the surface by a flanged shell moving on slides, with clamps and soil anchors securing the pod against uplift. Inside, a double shell separates the pressure vessel from the habitable area, resulting in a range of architectural uses.
News via: AI SpaceFactory
Atop the structure, a large water-filled skylight allows for the habitable area to be bathed with natural light, aided by intermittent windows. The space between the inner and outer shell further diffuses this light, to more accurately reflect conditions on Earth, while also containing a staircase to enhance maintenance, circulation, and a sense of architectural intrigue.

The habitat is split over four levels, with a "garage" at ground level, dry lab and kitchen "hub" at second level, individual cabins and hydroponic pond at third level, and bright recreational "skyroom" at fourth level. Each level has at least one window, combining to create a full 360-degree panorama. The layout is designed to accommodate the strict flow of tasks throughout a Martian day, while also serving as an evocative space to aid social and mental health.

AI SpaceFactory will now proceed with the MARSHA project by constructing a 1:3 functional prototype of the habitat, for the next level of the NASA 3D Printed Habitat Challenge. News of the scheme comes at a time of heightened interest in life on Mars, with extraterrestrial visions recently put forth by Elon Musk and Foster + Partners.

The involvement of architects and designers in investigating how humans could inhabit Mars has perhaps taken on greater significance given the exciting discovery, announced on the day of this article's publication, that researchers have found evidence of an existing liquid water "lake" on Mars.

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NASA Endorses AI SpaceFactory's Vision for 3D Printed Huts on Mars

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AI SpaceFactory has released details of their proposed cylindrical huts for the Planet Mars, designed as part of the 3D Printed Habitat Challenge organized by NASA. Project MARSHA (Mars HAbitat) was endorsed by NASA with a top prize of almost $21,000, one of five designs selected from a field of seventeen.

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The government of the United Arab Emirates has announced the launch of the Mars Science City project, a $140 Million USD (AED 500 million) research city that will serve as a "viable and realistic model" for the simulation of human occupation of the martian landscape. Designed by a team of Emirati scientists, engineers and designers from the Mohammed bin Rashid Space Centre in partnership with Bjarke Ingels Group (BIG), the 1.9 million-square-foot domed structure will become the largest space simulation city ever constructed.
News via Dubai Media Office
Mars Science City will house a variety of program pieces for both researchers and visitors, including laboratories for the study of food, energy and water; landscapes for agricultural testing and food security studies; and a museum celebrating humanity's greatest space achievements and educating visitors on the city's research. Utilizing one of the techniques currently considered for Mars habitat construction, the walls of the museum will be 3D printed using sand from the Emirati desert.

Laboratory spaces will be outfitted with advanced technologies allowing researchers to test construction and living strategies under specific Martian heat and radiation levels. Plans for the city include an experimental living scenario in which a team will attempt to live within the constructed environment for a full year.

"The UAE is a great country with vision and understanding of the challenges we face and the rapid changes our world is experiencing," said Vice President, Prime Minister and Ruler of Dubai, His Highness Sheikh Mohammed bin Rashid Al Maktoum. "We believe in the potential of space exploration, and in collaborating with global partners and leaders in order to harness the findings of this research and movement that seeks to meet people's needs and improve quality of life on earth."

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UAE Announces $140 Million BIG-Designed Mars Science City

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The UAE has launched the Mars Science City project, a city that will serve as a "viable and realistic model" for studying the human occupation of Mars.

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Esta propuesta de colonización en Marte imprimiría en 3D torres de hongos biodegradables que no dejan rastro

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Después del descubrimiento de la NASA de agua bajo la superficie de Marte a principios de este año, y el posterior éxito crítico y popular de la…

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Foster + Partners Awarded Top Prize in NASA’s 3D-Printed Mars Habitat Challenge

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NASA has announced the completion of the initial printing stage of NASA’s 3D-Printed Habitat Challenge, awarding Foster + Partners | Branch…

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Clouds AO and SEArch Win NASA’s Mars Habitat Competition with 3D-Printed Ice House

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NASA, who recently confirmed evidence of flowing water on Mars, has deemed SEArch (Space Exploration Architecture) and Clouds AO (Clouds Architecture…

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Hongkong Land’s Yorkville - The Ring in Chongqing, China by PH Alpha Design

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In 2017, as multiple places in China were being heavily impacted by smog, the top-tier developer Hong Kong Land was making plans to construct a shopping mall in Chongqing which would become known as “The Ring”. The Hong Kong Land proposed a design which would combine eco-friendliness and commercial elements, creating an “integration of city and nature”.

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Text description provided by the architects. Recently, a service buildings group of Nantong Urban Agricultural Park has been completed by Z-ONE Architects (a newly emerging studio that specializes in experimental architectural practice in rural China; established in 2020). The project is located in the northern suburb of Nantong, Jiangsu, China, with a total construction area of 4552.8m². It took four months from concept design to final completion.

The project includes 3 buildings： a Comprehensive Service Center called "Gather Grain into Granary"， an Exhibition Hall of Rural Life and a public restroom renovation. Considering the project is located in the entrance area, which is an important place for visitors to perceive the whole park, it needs to transition between urban and rural experience, without missing the reflection and reconstruction of contemporary architectural vocabulary.

The main function of building "Gather Grain into Granary" Comprehensive Service Center, a collection of five warehouse-shaped spaces, adopts a steel-timber combined structure. It gathers a field library, an exhibition space, a studying space, a dining space, and a multi-function hall for variable activities. The design team creates internal 'light wells' in every core space by the intersection of the structure.

Each space provides different sunlight perception through different ways of light leading which makes visitors accept the power of nature in different layers. Z-ONE team applied "dimension reduction" to most of the free-form surface during the design process, which greatly reduced the amount of special-shaped steel and wood structure and also the engineering difficulty. At the same time, the problem of laying tiles in large quantities on the irregular curved roof was creatively solved.

The Exhibition Hall of Rural Life used a membrane structure of architectural vocabulary. Its form and texture not only reflect the theme of the whole park but also reflect the unique spatial and morphological elements. The whole building creates different areas of function by gradually changing the height of interior spaces.

While the pure white texture and the penetration of skylight ensure the integrity of interior space and make a small house have a layering of a big space. A Curved long horizontal window facing unique river scenery makes the whole space to be both separated and integrated with the external landscape through the delicate top height control.

The renovation of the public toilet takes into account the overall spatial form of the entrance. It hopes to reduce the physical sense of the building as much as possible. The perception of the building is that the roof is heavy and the walls are light. While the grey space formed by the public washbasin in the front interacts with the reflective material in the back making the heavy material roof present the feeling of floating.

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Nantong Urban Agricultural Park Tourist Service Center / Z-one Tech

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Text description provided by the architects. Recently, a service buildings group of Nantong Urban Agricultural Park has been completed by Z-ONE Architects (a newly emerging studio that specializes in experimental architectural practice in rural China; established in 2020). The project is located in the northern suburb of Nantong, Jiangsu, China, with a total construction area of 4552.8m².

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Charles Jencks: The Architect in the Jumping Universe - Garden Museum

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In this article originally published by Drawing Matter, Lily Jencks, Keeper of Vision at the Jencks Foundation, looks at how the drawings by American landscape architect and designer Charles Jencks (1939-2019) for the Garden of Cosmic Speculation in Scotland reveal the meaning and symbolism ingrained in his landscape designs: Gardens have always been the location to […]

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Contribuidores dos projetos da Wikimedia

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Arquiteto-estrela – Wikipédia, a enciclopédia livre

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termo usado pra descrever arquitetos famosos

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https://livrariadoipp.rio/produto/arquitetura-de-grife/

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Arquitetura de grife – LIVRARIA DO IPP – Loja Virtual

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Capa comum: 160 páginas Editora: Mauad; Edição: 1ª (30 de janeiro de 2015) Idioma: Português ISBN-10: 8574787310 ISBN-13: 978-8574787312 Dimensões do produto: 22,8 x 15,2 x 1,2 cm Peso de envio: 662 g

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9 of the World’s Most Intrusive Buildings

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Designing buildings to grab attention is a risky strategy; it can go right or very wrong. Here are 9 of the most intrusive pieces of architecture ever built.

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Stoas Vilentum Hogeschool / BDG Architects Zwolle

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Built by BDG Architects Zwolle in Wageningen, The Netherlands with date 2014. Images by ScagliolaBrakkee. Stoas Vilentum is a small academic institution where research and teaching focus on the green sector, and where educa…

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Through his unbuilt projects, built works, and research, Amancio Williams's ideas emerge as the result of a deep understanding of the most advanced trends of his time reflecting on architectural design, urbanism and city planning. By exploring various themes, concepts, and even materials, he aims to create a personal universe that interprets the present as something future-oriented, both international and distinctly Argentine. His proposal " La ciudad que necesita la humanidad" presents linear and layered buildings raised 30 meters above ground, incorporating everything from office spaces to roads and magnetic trains on different levels of a single structure. The Amancio Williams archive at the Canadian Centre for Architecture in Montreal documents Williams' career as an architect and designer from the 1940s to the late 1980s. The fonds documents his work for over 80 architectural, urban planning and design projects, as well as the administration of his architecture practice and his professional activities. Including drawings and sketches, presentation models, photographic materials, such as photographs of models, finished project (when realized), reference images, photographic reproduction of plans, and site photographs, the archive is available to consult offering more details.

Rooted in his personal concerns and inquiries, Williams's work intersects multiple evolving issues, aiming to both enrich and solidify the local architectural culture while also imagining new worlds, cities, and forms of architecture. Engaging in dialogue with peers and within a specific historical context, he developed his ideas around various urban and architectural debates. The concept of a linear city occupied him for over a decade toward the end of his life.

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What Kind of City Will Humanity Need? Exploring Amancio Williams' Proposal for a Linear City

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Amancio Williams's ideas emerge as the result of a deep understanding of the most advanced trends of his time.

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LEED-certified green buildings are better buildings.

LEED (Leadership in Energy and Environmental Design) is the world's most widely used green building rating system. LEED certification provides a framework for healthy, highly efficient, and cost-saving green buildings, which offer environmental, social and governance benefits. LEED certification is a globally recognized symbol of sustainability achievement, and it is backed by an entire industry of committed organizations and individuals paving the way for market transformation.

LEED v5 is the newest version of LEED. It marks a transformative milestone in the built environment's alignment with a low-carbon future and addresses critical imperatives such as equity, health, ecosystems and resilience. Learn more.

A LEED for every project

LEED is for all building types and all building phases including new construction, interior fit outs, operations and maintenance and core and shell. Check out our interactive Discover LEED tool to get started; then, use the rating system selection guidance to select a rating system.

LEED system goals

LEED-certified buildings are critical to addressing climate change and meeting ESG goals, enhancing resilience, and supporting more equitable communities. LEED is a holistic system that doesn't simply focus on one building element, such as energy, water or health. Instead, it looks at the big picture, factoring in all critical elements that work together to create the best building possible. The goal of LEED is to create better buildings that:

Reduce contribution to
global climate change

Enhance individual human health

Protect and restore water resources

Protect and enhance biodiversity
and ecosystem services

Promote sustainable and
regenerative material cycles

Enhance community quality of life

Of all LEED credits, 35% relate to climate change, 20% directly impact human health, 15% impact water resources, 10% affect biodiversity, 10% relate to the green economy, and 5% impact community and natural resources. In LEED v4.1, most LEED credits are related to operational and embodied carbon. Learn more. LEED categories can also contribute toward meeting the U.N.'s Sustainable Development Goals. Explore synergies between LEED and SDGs.

Better for business, people and the environment.

Millions of people live, work and learn in LEED-certified buildings worldwide. Here's why.

Better for business and the bottom line

LEED buildings have a higher resale value and lower operational costs than non-LEED buildings. LEED is an essential strategy for achieving ESG, decarbonization and equity goals. LEED-certified buildings are a solid asset for investors, occupiers, and communities. They've proven to be top-performing commercial real estate investments.

LEED helps investors measure and manage their real estate performance. It allows investors to implement management practices that prioritize building efficiency, decrease operational costs and increase asset value.

Since 2018, LEED-certified assets have held a 21.4% higher average market sales price per square foot over non-LEED buildings*.

LEED-certified offices have consistently performed at a premium when it comes to pricing across quality classes and geographies**.

LEED-certified Class A urban office sales generated a 25.3% price per square foot premium over non-certified buildings. In comparison, LEED-certified Class A suburban offices achieved a 40.9% premium over non-certified assets**.

LEED-certified Class B office achieved the highest premium, 77.5%, over its non-certified comparable set**.

* Cushman & Wakefield. (2021). Green Is Good: Sustainable Office Outperforms in Class A Urban Markets.
** Cushman & Wakefield. (2021). Green Is Good: Sustainability's Impact on Office Investment Pricing.

Better for people

LEED-certified buildings focus on occupant well-being, offering a healthier and more satisfying indoor space while addressing community and public health. The rating system focuses on strategies like banning smoking and reducing toxic exposure from materials to improve air quality. Active design and supporting the production of local, sustainable foods promote physical activity and healthy eating.

Better for the environment

LEED buildings use less energy and water, utilize renewable energy and fewer resources, create less waste, and preserve land and habitat. LEED certification is a global solution for cities, communities and neighborhoods. Through sustainable design, construction and operations, LEED can help new and existing buildings to reduce carbon emissions, energy and waste, conserve water, prioritize safer materials, and lower our exposure to toxins.

Buildings account for almost 40% of global energy-related CO2 and are critical in tackling climate change.

Energy-efficient buildings reduce pollution and improve outdoor air quality in major industrialized areas, making LEED a critical tool in reducing smog.

By building to LEED standards, buildings contributed 50% fewer GHGs than conventionally constructed buildings due to water consumption, 48% fewer GHGs due to solid waste and 5% fewer GHGs due to transportation*.

34% lower CO2 emissions*

25% less energy consumed*

11% less water consumed*

78 million tons of avoided CO2 emissions

89/100 average ENERGY STAR score for LEED projects

25% less energy on average used by LEED buildings compared to commercial buildings

1.3 million tons of coal equivalent saved each year

80 million tons of waste diverted from landfills*

* Fowler, Kimberly, et al. Re‐Assessing Green Building Performance: A Post Occupancy Evaluation of 22 GSA Buildings. Sept. 2011.

By 2030, LEED projects will have diverted more than 540 million tons of waste from landfills.

Nearly 4 billion vehicle miles traveled have been avoided by occupants of LEED buildings, thanks to efficient locations and alternative transportation options.

Certified projects are estimated to have cumulatively specified more than $100 billion in green materials.

How LEED works

To achieve LEED certification, a project earns points by adhering to prerequisites and credits that address carbon, energy, water, waste, transportation, materials, health and indoor environmental quality. Projects go through a verification and review process by GBCI and are awarded points that correspond to a level of LEED certification: Certified (40-49 points), Silver (50-59 points), Gold (60-79 points) and Platinum (80+ points).

Platinum
80+ points earned

Gold
60-79 points earned

Silver
50-59 points earned

Certified
40-49 points earned

LEED is backed by USGBC -the developers of LEED-and an entire industry of committed organizations and individuals who are paving the way for market transformation. USGBC invests more than $30 million annually to maintain, operate and improve LEED and its customer delivery.

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LEED, or Leadership in Energy and Environmental Design, is the most widely used green building rating system. Available for virtually all buildings, communities and homes, LEED provides a framework to create healthy, efficient and cost-saving buildings.

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COMPARAÇÃO ENTRE AS CERTIFICAÇÕES LEED E AQUA PARA A CONSTRUÇÃO CIVIL – ISSN 1678-0817 Qualis B2

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Comparando as abordagens de Shigeru Ban e Yasmeen Lari

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Comparando as abordagens de Shigeru Ban e Yasmeen Lari

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What is Low-Tech Architecture: Comparing Shigeru Ban and Yasmeen Lari’s Approaches

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Discover the principles of low-tech architecture and how architects like Shigeru Ban and Yasmeen Lari are redefining sustainable design.

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Certificações na construção civil: LEED e AQUA

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Certificações na construção civil: LEED e AQUA

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LEED E AQUA

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Novo capítulo em materiais arquitetônicos sustentáveis

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Novo capítulo em materiais arquitetônicos sustentáveis

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Adapt, Breathe, Regenerate: Envisioning a New Chapter in Architectural Materials

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Explore a future for architecture grounded in emerging innovations, where regenerative materials and smart technologies shape green, responsive buildings.

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Podcast Episode · Scaffold · 02/10/2022 · 1h 5m

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Space Popular's immersive setup explores the future of portals at Soane’s, London

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Space Popular's immersive setup explores the future of portals at Soane’s, London

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Space Popular’s immersive setup explores the future of portals at Soane’s, London

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The multidisciplinary studio presents Portal Galleries, an exhibition that lets you experience a virtual extension of the revered museum, using VR headsets.

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‘Portals will be as important as the car’: the architects exploring gateways to new dimensions

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‘Portals will be as important as the car’: the architects exploring gateways to new dimensions

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With its hidden doors, folding walls and clever optical tricks with mirrors and light-wells, Sir John Soane's Museum feels like just the kind of place you might stumble across a portal to another dimension. Moving from one room to the next in this wildly reimagined London townhouse is never as straightforward as stepping through a simple doorway. The eponymous neoclassical architect and collector saw to it that the thresholds between the different parts of his house-museum were elaborate spaces in themselves, topped with lanterns and lined with mirrors and windows, offering views up, down and through his multi-levelled maze of antique treasures.

Step through one opening, expecting another stately drawing room, and you find yourself standing on a bridge, suspended in a three-storey " sepulchral chamber ", where a glazed dome brings light down to an Egyptian sarcophagus in the basement. Pull back the folding panels in the picture room, and you discover a statue of a nymph in a hidden recess, floating above a void that plunges into another sculpture-encrusted nook below the floor. Each carefully choreographed transition, each theatrical reveal, is designed to transport the visitor to a parallel universe, whether it be the ancient ruins of Giambattista Piranesi's Paestum, the demonic halls of John Milton's Pandemonium, or the drawings of imaginary cities made up of fragments of Soane's own buildings.

Lara Lesmes and Fredrik Hellberg of Space Popular. Photograph: Anna Huix

Two hundred years later, Soane's richly layered labyrinth has been extended with a whole new virtual dimension. Following a period of intensive research during the pandemic, experimental architectural duo Space Popular have unveiled the Portal Galleries, a beguiling immersive exhibition that explores the history and future of portals - a topic for which there could be no better setting. Using a combination of virtual reality films and physical exhibits, alongside drawings from the collection, the show charts the role of magical thresholds in fiction, film, television and gaming, and speculates on the fundamental role they will play in the coming virtual world.

"Portals are going to be everywhere," says Fredrik Hellberg, co-founder of Space Popular with Lara Lesmes. "We are convinced they will be the main infrastructure of the rest of this century, just as ubiquitous as the car was to the last. To avoid future mistakes, we should start to get prepared now."

The concept of virtual transport infrastructure might be quite a challenge to get your head around. But Hellberg and Lesmes are adamant that it is the next pressing design challenge, as our "scrolls become strolls", and the internet takes on an ever more spatial dimension.

Mind-boggling ... Space Popular at Sir John Soane's Museum. Photograph: Space Popular

Think of the portal like the three-dimensional version of clicking on a link. Just as hyperlinks take you from one web page to another, portals are becoming the primary way to travel around the immersive internet (also known as the metaverse), taking you from one virtual space to the next. Who is designing these portals, they argue, and with what purpose in mind, will define how we all come to navigate the virtual world.

"They are very rudimentary at the moment," says Lesmes, who spent much of the pandemic teaching with Hellberg in virtual environments, using social VR to meet with their students, who were often back home in different countries. "Someone 'drops a portal', and your avatars go through some kind of ring or frame together, but then there is often a black screen, or you have to close down the platform and find another app, and go through pages of links. It's a horrific experience."

Operating like time-travelling motorway engineers at the launch of the Model T Ford, Space Popular want to pre-empt the coming chaos of metaverse navigation by proposing a common civic infrastructure for virtual teleportation. "Portals will be the vessels to sail across the immersive internet," they say in one of the films. "The way in which they operate will define the fairness of virtual environments and infrastructure."

To imagine what form these vessels might take, the architects have mined the history of teleportation devices in fiction over the last 150 years, compiling a database of more than 900 examples, organised into 18 different categories. These are elegantly displayed on a multi-levelled table, upholstered with printed fabric, in the middle of one of the Soane galleries - in a similar manner to their information-rich printed carpet at the Riba - and explained in a couple of accompanying VR films.

The examples range from the rabbit-hole in Alice in Wonderland and the wardrobe in the Narnia books, to Dr Who's Tardis, Back to the Future's DeLorean and Platform 9¾ in Harry Potter, via all manner of holes, mirrors, cracks, bridges and "energy frames" found in sci-fi and fantasy fiction. Their timeline tells an eye-opening story, charting the explosion of portals after the second world war, marked by the likes of The Sentinel by Arthur C Clarke (which formed the basis of the film 2001: A Space Odyssey), the Wayback Machine in Peabody's Improbable History, and the tollbooth from the 1961 book The Phantom Tollbooth, written by architect Norton Juster.

Maps to another dimension ... Space Popular at Sir John Soane's Museum. Photograph: Space Popular

The following period, leading up to the cold war and the space race, saw portals take the form of massive energy-intensive machines and weapons built in the battle for world domination. They highlight the 1960s TV series The Time Tunnel, where thousands of people work under the desert surface on a secret megastructure, which would allow the US military to travel in time, noting how its iconic spiral design went on to inspire countless portals in future stories. The period after the cold war, meanwhile, saw portals serve more satirical and comical roles in lowbrow sci-fi and family movies - such as the phone booth in Bill and Ted's Excellent Adventure, or the people-eating television in the 1980s body horror film Videodrome.

They found one of the most recurring types of portal to be the "portable hole", first featured in the Looney Toons cartoon The Hole Idea in 1955, in which a scientist demonstrates his device for rescuing a baby from a safe, cheating at golf and escaping from housework. It later appears in the Beatles' film Yellow Submarine, in the form of the Sea of Holes, as well as in Who Framed Roger Rabbit, reaching a hole-studded peak in the 1985 Marvel cartoon character, Spot - whose body is covered in portals.

For each of the 900 examples, they have catalogued how each portal works, where it leads, and who can use it, revealing that more recent examples often discriminate on grounds of class, status and ethnicity. In the Harry Potter franchise, for example, those who are born into a certain group can run through the wall into a future of power and privilege, while mere mortals smash their faces against the bricks.

While some of their charts and diagrams can be a little impenetrable, Space Popular's overarching message is clear. As tech giants such as Facebook (now Meta) and Microsoft bid for domination of the metaverse, and the crypto community embraces it as a way to peddle further NFTs and flog virtual real estate, Lesmes and Hellberg are calling for a more equitable virtual future. "In the coming 15 years," they write, "we must create a civic infrastructure for virtual teleportation that breaks with the discriminatory and opaque nature of locked doors, hidden vigilance, privacy breaches and concealed discrimination."

They don't pretend to have all the answers, but their mind-boggling archive of portals provides a hint of some of the directions the brave new virtual world might take. As they conclude in one of the films: "It is now the time to mind the doors we open, and to carefully consider the ones we close." Personally, I'll be taking the first flying phone booth out of the metaverse, and trying not to fall through one of the slippery holes to Zucker-land.

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'Portals will be as important as the car': the architects exploring gateways to new dimensions

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From Platform 9¾ in Harry Potter to Bill and Ted's phone booth, a new exhibition about portals explores the ways we'll soon be moving around the metaverse

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Tour virtual pelos Pavilhões Nacionais da Bienal de Veneza 2014

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Tour virtual pelos Pavilhões Nacionais da Bienal de Veneza 2014

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Galeria de Tour virtual pelos Pavilhões Nacionais da Bienal de Veneza 2014 - 41

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Imagem 41 de 46 da galeria de Tour virtual pelos Pavilhões Nacionais da Bienal de Veneza 2014. Pavilhão da República Checa. Imagem © Andrea Avezzù, Cortesia de la Biennale di Venezia

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For the second iteration of the Techno-Mythopoeia Cosmogonic tour series, participants will navigate an online myth-making game platform, traversing the mythical cosmography of the 'next generation' 5G network.

You can apply for the Summer Sessions 2021 now!

In the Who Cares? program, artists participating in the exhibition To Mind Is To Care talk with authors who have contributed to the eponymous book, the exhibition's curator, and others.

C.AI.M is the Critical Artificial Intelligence Manifesto app.

We=Link: Sideways is an online exhibition by Chronus Art Center, (CAC), that is co-presented with V2_ Lab for the Unstable Media and ten other cultural organisations. It features twenty-two works by twenty-eight artists and artist collectives, ...

Before you visit us, please read our policy below to find out what steps we've taken and what we expect from you.

Our response to the global spread of coronavirus.

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For the second iteration of the Techno-Mythopoeia Cosmogonic tour series, participants will navigate an online myth-making game platform, traversing the mythical cosmography of the 'next generation' 5G network. You can apply for the Summer Sessions 2021 now! In the Who Cares?

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Serpentine Pavilion 2025 by Marina Tabassum

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Serpentine Pavilion 2025 by Marina Tabassum

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Serpentine latest stories

Plan your visit

Find out how to make the most of your visit to the Serpentine

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Serpentine South Gallery

Kensington Gardens,
London W2 3XA
Tuesday-Sunday 10am-6pm

Serpentine North Gallery

West Carriage Drive,
London W2 2AR
Thursday-Sunday 10am-6pm

Serpentine Pavilion 2023 architect Lina Ghotmeh and sound artist Tarek Atoui discuss spatiality, sensory listening, and the soundscape Atoui created for the Pavilion.

Read more &plus;

Writer, artist, and musician Brontez Purnell shares an unreleased sex column for Serpentine Podcast's Intimacies series.

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In this looping film work, artist and poet Rena Anakwe responds to ideas of weather, energy and interconnection within Tomás Saraceno's exhibition, Web(s) of Life.

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Audio Guide

Discover more from the Serpentine with our free Bloomberg Connects audio guide. Hear from artists, curators and special guests talking in-depth about Serpentine exhibitions.

DOWNLOAD NOW

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Free contemporary art gallery in London's Kensington gardens with a year-round programme taking place across two galleries, in the park and online.

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Jean Nouvel prevê como seu arranha-céu 53 West 53rd transformará o icônico horizonte de Manhattan

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O Real Deal conversou com Jean Nouvel para discutir seu novo projeto 53W53 em Manhattan.

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O novíssimo arranha-céu projetado pelo arquiteto uruguaio Rafael Viñoly em Nova Iorque, acaba de concretar sua última lage, atingindo finalmente seu ponto mais alto. Implantado no número 125 da Greenwich Street, o edifício assumirá o título de mais alto arranha-céu residencial do centro de Manhattan. A luxuosa e esbelta torre de 278 metros de altura contará com oitenta e oito pavimentos e uma fachada de vidro em 360 graus, permitindo vistas fantásticas para a paisagem do rio Hudson, para a Estátua da Liberdade, o complexo do World Trade Center e para todos os arredores da cidade de Nova Iorque.

O 125 Greenwich Street é uma torre residencial com 273 unidades, desde pequenos estúdios até amplos apartamentos de três quartos. Além disso, o novo ícone da grande maça contará também com um clube de uso exclusivo dos moradores, com mais de 1.400 metros quadrados. O The 88, como será chamado, será uma estrutura de três pavimentos no topo da torre, inteiramente dedicada à saúde e o bem estar dos moradores, além é claro das melhores vistas para a maior cidade dos Estados Unidos. Isso faz da torre projetada por Viñoly um edifício especial, o único arranha-céu deste tipo que disponibilizará os últimos e mais importantes pavimentos para o uso exclusivo de seus moradores, a 278 metros de altura e cercado por vistas panorâmicas para toda a cidade de Nova Iorque.

"A inauguração da cobertura do 125 Greenwich Street será um marco histórico para a cidade de Nova Iorque. O renomado arquiteto Rafael Viñoly trabalhou em estreita colaboração com os designers de interiores da March & White-se para criar um luxuoso ambiente que elevará aos céus o padrão de consumo dos cidadãos americanos e visitantes do mundo todo", disse Davide Bizzi, diretor executivo da Bizzi & Partners, "o projeto impecável do edifício é complementado pelas deslumbrantes vistas para o horizonte de Manhattan. Estamos todos muito ansiosos para inaugurar este edifício já no final deste ano."

O projeto de interiores da torre, assinados pela March & White, seguem três categorias distintas inspiradas nas vistas do edifício: Terra, que evoca o espaço urbano a rés-do-chão com suas cores quentes e marrons; Aqua, definido pelos tons de azul e cinza refletidos na superfície do Hudson; e Stratus, inspirado nas alturas, nas nuvens e suas cores mais claras e suaves.

A comercialização das unidades da torre projetada pelo controverso arquiteto uruguaio está por conta da Douglas Elliman Development, uma das mais importantes empresas de marketing imobiliário de Nova Iorque. Para a construção do arranha-céu, o 125 Greenwich Street também conta com a colaboração de algumas das mais renomadas empresas do setor da construção civil em operação no país, a Plaza Construction e a Times Square Construction.

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Arranha-céu de Rafael Viñoly passa a ser o edifício residencial mais alto de Nova Iorque

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O novíssimo arranha-céu projetado pelo arquiteto uruguaio Rafael Viñoly em Nova Iorque, acaba de concretar sua última lage, atingindo finalmente o ponto máximo.

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World Trade Center Transportation Hub / Santiago Calatrava

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Completed in 2016 in New York, United States. Images by Hufton+Crow , Imagen Subliminal (Miguel de Guzmán + Rocío Romero). The Transportation Hub is conceived at street level as a freestanding structure situated on axis along the southern edge of the “Wedge of Light”…

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Cidades brasileiras frequentemente alegam não possuir recursos para ampliar ou melhorar a sua infraestrutura, mesmo para algumas finalidades básicas como zeladoria de espaços públicos ou implantação de ciclovias, ambas de relativo baixo custo.

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A Amazon e a volta da Starchitecture | Caos Planejado

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A Amazon usa a Starchitecture para projetar obras icônicas para as cidades e reforçar sua imagem como uma gigante da tecnologia.

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Sustainable Living, Made Easy | Masdar City

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TEDxBerlin - Ken Yeang, Ecoinfraestruturas Verdes

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TEDxBerlin - Ken Yeang, Ecoinfraestruturas Verdes

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Green Ecoinfrastructures: Ken Yeang at TEDxBerlin

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Architect Norman Foster discusses his own work to show how computers can help architects design buildings that are green, beautiful and “basically pollution-free.” From the 2007 DLD Conference, Munich; www.dld-conference.com

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Artigo - Ecotech como uma Ferramenta Eficaz para Sustentabilidade na Indústria da Construção

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Artigo - Ecotech como uma Ferramenta Eficaz para Sustentabilidade na Indústria da Construção

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Masdar  City | Pioneering Abu Dhabi’s Vision for a Sustainable and Diversified Economy

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43,1 mi de inscritos

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Saving the world by ecological design | DR. KEN YEANG | TEDxNitteDU

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The Green Side of Industry: The Drivers and the Impacts of ECO-Innovations in Brazil

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This study aimed to provide an overview of eco-innovations in the Brazilian industry. To address this issue, we analyzed specific data of eco-innovative companies. In addition, we applied the cluster heatmap technique, which allowed us to analyze the different drivers and impacts of eco-innovations in different sectors. According to the results, companies that stated that innovation made it possible to reduce their environmental impact represent a third of all innovators. Moreover, they are companies that have shown greater effort to innovate and greater susceptibility to the benefits and obstacles of innovation. Furthermore, the eco-innovation strategy is mainly driven by market factors, such as reputation and codes of good practice. The impacts are mainly associated with the use of more widespread and less complex technologies, such as recycling. In addition to these results, the study considers some alternatives to guide the innovation policy, especially related to eco-innovations in semi-peripherical countries.

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According to the architect and researcher Patrícia Akinaga, ecological urbanism emerged at the end of the 20th century as a strategy to create a paradigm shift with regard to the design of cities. With this, urban projects should be designed from the potential and limitations of existing natural resources. Unlike other previous movements, in ecological urbanism architecture is not the structuring element of the city - the landscape itself is. In other words, green areas should not only exist to beautify spaces, but as true engineering artifacts with the potential to dampen, retain and treat rainwater, for example. With ecological urbanism, urban design becomes defined by the natural elements intrinsic to its fabric.

In the same text, Akinaga quotes the architect and landscaper researcher Douglas Farr when she says that ecological urbanism creates a scenario for a new, more balanced lifestyle, with a higher quality of life and with the fulfillment of daily needs. In order to achieve an ideal of ecological urbanism, Farr sets out five basic guidelines:

Densification: releasing the soil and decreasing displacements.

Sustainable corridors: sustainable travel through a network of public transport and intermodal ecological corridors.

Ecological neighborhoods: neighborhood units with diversified commerce, civic areas and public spaces connected by a road system, allowing access to basic needs via short walks.

Access to nature: creation of qualified green spaces such as sports fields, squares, parks and community gardens.

High-performance buildings and green infrastructure: infrastructures that have low energy consumption and carbon dioxide emissions, either through technology, or through specific strategies such as rain gardens, bioswales, intense afforestation, among others.

In academic terms, the Ecological Urbanism Symposium, by the Graduate School of Design, at Harvard University, in 2009 can be considered an important milestone in research on ecological urbanism, with the organization of Mohsen Mostafavi and Gareth Doherty, who brought together several contributions in a book of the same name.

Despite the well-established theory, in practice ecological urbanism has been criticized for often configuring a vaguely defined idea materialized in a set of flashy projects. Expensive works for commercial rather than environmental purposes, satisfying a one-off ambition to invest in technology and sustainability without representing a globally applicable approach. All criticisms are valid in order not to be seduced by the idea of sustainability, however, far from being generalized, there are very interesting projects that approach ecological urbanism as a reconciliation of the city and its environment. Check out some examples below:

"How can an almost extinct wetland be preserved in the middle of the city, while its ecological and biological processes have been impeded by the urban context? And what is the most economical way to deal with such a great landscape? The solution was to transform the spring into a multi-functional rainwater park that will collect, filter, store rainwater and infiltrate the aquifer, while proving productive and pro-life, providing new recreational and aesthetic experiences for the city."

"To deal with the warming, the Colombian city authorities turned 18 streets and 12 waterways into green havens. The Green Corridors project promoted the afforestation of these routes, which allowed reducing the accumulation of heat in urban infrastructure in Medellín, Colombia".

"This landscaping project is designed in relation to the ecological aspects of this riverine habitat and seeks to reintroduce native species to the environment, promoting its regeneration. The remaining native vegetation remains respected by the built elements deployed around it. For each sector (for example, areas subject to natural floods or higher dry areas), specific species were selected. In general, the project works not only as a regeneration plan, but as an open, living and permanent environment for environmental education".

"This initiative is part of the City of Sydney's largest environmental project to date, built with the Australian Government through the National Urban Water and Desalination Plan. It is an integral component of the Sustainable Sydney 2030 project which seeks to ensure that 10% of the water can be suppressed through water collection and reuse in the park".

This article is part of the ArchDaily Topics: The Road to Net Zero Architecture presented by Randers Tegl.

Randers Tegl aims to take responsibility and think sustainable as a part of reaching the goal of Net Zero. Both in terms of how building materials impact the climate and how the materials age, but also with a focus on architecture. That is why Randers Tegl created their sustainable series GREENER, which comes with full documentation in the form of EPD, so it is possible to use the product in technical calculation programs.

Every month we explore a topic in-depth through articles, interviews, news, and projects. Learn more about our ArchDaily topics. As always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us.

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archdaily topic 2022 the road to net zero architecture

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With ecological urbanism, the urban design is defined by the natural elements intrinsic to its fabric.

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Centro de Exibições Nanjing Eco-Tech / NBBJ + Jiangsu Provincial Architectural Design & Research Institute

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Centro de Exibições Nanjing Eco-Tech / NBBJ + Jiangsu Provincial Architectural Design & Research Institute

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Centro de Exibições Nanjing Eco-Tech / NBBJ + Jiangsu Provincial Architectural Design & Research Institute

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Construído na 2016 na Nanjing, China. Imagens do Terrence Zhang, Paul Dingman . Contexto O Nanjing Eco-Tech Park é uma expressão física das aspirações para a cidade de Nanjing. É um campus que promove criatividade, colaboração e…

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A Usina Brattørkaia é um edifício que desafia as condições climáticas extremas para redefinir o conceito de auto-suficiência energética em arquitetura.

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The Powerhouse Brattørkaia in Trondheim, Norway is the world's northernmost energy-positive building and sets a new standard for the construction of the buildings of tomorrow. One that produces more energy than it consumes over its lifespan, including construction, demolition, and the embodied en...

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Climate and Sustainable Design | Foster + Partners

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Foster + Partners is a global studio for architecture, engineering, urban and landscape design, rooted in sustainability.

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BIG has grown organically over the last two decades from a founder, to a family, to a force of 700. Our latest transformation is the BIG LEAP: Bjarke Ingels Group of Landscape, Engineering, Architecture, Planning and Products. A plethora of in-house perspectives allows us to see what none of us would be able to see on our own. The sum of our individual talents becomes our collective creative genius. A small step for each of us becomes a BIG LEAP for all of us.

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Arranha-céu Bioclimático - Kenneth Yeang

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Arranha-céu Bioclimático - Kenneth Yeang

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Rising over global cities, the modern skyscraper has long been a symbol of economic growth and environmental decline. For years, they have been reviled by environmentalists for being uncontrolled energy consumers. Malaysian architect Kenneth Yeang acknowledged the skyscraper as a necessityin modern cities and adopted a pragmatic approach to greening the otherwise unsustainable building typology. Yeang's bioclimatic skyscrapers blend the economics of space with sustainability and improved living standards.

A champion of sustainable architecture in Southeast Asia, Kenneth Yeang's work is driven by an ecology-based approach. He was a student of the Scottish landscape architect Ian McHarg who encouraged Yeang to design according to a regional microclimate. Best known for his green architecture and master plans, Yeang's designs display a distinctive green aesthetic that performs beyond conventional rating systems. With many successful projects in his portfolio, Yeang became well-known for reimagining skyscraper design in fast-growing Southeast Asia.

Kenneth Yeang situated his practice at the intersection of theory and practice, having authored a few books on skyscraper design. In " The Skyscraper Bioclimatically Considered ", Yeang describes bioclimatic architecture as the use of passive, low-energy techniques such as building configuration, shading, component placement, material selection, solar- and wind-related orientation, natural ventilation, 'sky courts, and vertical landscaping. "The Green Skyscraper: the Basis for Designing Sustainable Intensive Buildings" elaborates on Yeang's justification for the focus on skyscrapers as a means of ecological improvement in growing cities.

Described as "capital with a green face", Yeang was able to market sustainable development to clients and developers. He proved that designing with climate using passive devices resulted in a reduction of the overall energy consumption of the buildings, further reducing operational costs. Consequently, reduced electrical energy use implies reduced use of non-renewable fossil fuels, carbon dioxide emissions, air pollution, and temperature inversions. These considerations allowed development to continue within a framework of environmental sensibility - crucial to growing economies in Asia.

Yeang's definition of bioclimatic architecture - passive techniques, environmental improvement, and regional expression - were realized through building strategies emphasized in his writing and his built work:

The Ecological Design In The Tropics Tower situated in Singapore is an example of ecological innovation in the Southeast Asian context. Kenneth Yeang 's strategy for increased airflow and reduced temperatures takes the form of an external core placed along the perimeter of the building. This opens up space inside as an expanding and contracting vertical courtyard that promotes natural ventilation and transpiration. Additionally, the external core also acts as a shield against heat gain during the hottest part of the day. The EDITT tower successfully reinterprets conventional skyscraper design where a central core within a rectangular shaft was considered immutable.

Nara Tower: Vertical Greenery

Kenneth Yeang's unbuilt project designed for Tokyo, the Nara Tower, uses planting to counteract the biological imbalance caused by urban conurbation. The energy-efficient building applies concepts of vertical landscaping with eco-design to filet and clean indoor and outdoor air. Apart from serving as the lungs of the tower, the greenscape acts as a sound break between floors. The Nara Tower features a combination of changing form, continual landscaping, and embedded technologies to create a vernacular expression and aesthetic for an 'eco-friendly skyscraper'.

With the Menara Mesiniaga tower, Yeang shifts his focus from technological advances in skyscraper design to the physiological well-being of users. The culmination of the Malaysian architect's years of research into passive strategies for tall buildings, the tower fully realized its bioclimatic design principles. Yeang envisioned the project as a vertical interpretation of planar urban landscapes, equipping the building with vistas, public realms, civic zones, and linkages to "humanize floor slabs disconnected from the ground". He achieved this through "sky courts" that spiral around the cylindrical facade. The sky courts not only act as a transitional space between the inside and outside of the skyscraper but also direct convective currents of cool air around and into the building.

UMNO Tower: Natural Ventilation

The UMNO (United Malaysian National Organization) Tower in Penang, Malaysia highlights the eco-architect's structural creativity. Yeang's design turns a general disadvantage to skyscraper construction - wind load - into an opportunity. The UMNO Tower stands as a "vertical cantilever beam" positioned to take advantage of wind coming in from far-away natural features such as the South China Sea and the surrounding mountains. The structure was designed as a large "wind wing" wall angled to create an artificial pressure zone and pull wind through each office floor. The resulting natural ventilation was crucial in improving the health of the occupants, enhancing their physiological perception, and supporting energy conservation.

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The Bioclimatic Skyscraper: Kenneth Yeang's Eco-Design Strategies

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Skyscrapers, generally considered as large energy and resource consumers, can be designed for ecological amelioration, as seen in Kenneth Yeang's work.

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Wang Shu e a reciclagem de materiais na arquitetura chinesa contemporânea

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Wang Shu e a reciclagem de materiais na arquitetura chinesa contemporânea

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Ao longo dos dois últimos séculos, a China passou por um vertiginoso processo de expansão demográfica e urbana, resultando na completa descaracterização de sua paisagem histórica, onde inúmeras pequenas cidades e vilarejos acabaram sendo varridos do mapa, substituídos por novas infra-estruturas urbanas e edifícios cada vez mais altos. À medida que a antiga paisagem chinesa vai desaparecendo sob o novo tecido urbano da China do século XXI, importantes elementos da cultura cívica e social também estão sendo esquecidos e negligenciados. Wang Shu, o primeiro arquiteto chinês a ser galardoado com o Prêmio Pritzker, tem lidado com esta delicada situação cotidianamente desde o início de sua carreira, desenvolvendo uma arquitetura que busca construir pontes entre o passado e o presente. Utilizando materiais reciclados e recuperados de antigas estruturas abandonadas ou destruídas, Wang Shu está resignificando a arquitetura tradicional chinesa no contexto de um país em rápido e incansável processo de desenvolvimento e expansão urbana. A seguir, discutiremos algumas das principais obras construídas por Wang Shu, como o Museu de arte contemporânea (2005) e o Museu Histórico de Ningbo (2008), e o Campus da Nova Academia de Arte de Hangzhou (2004).

Na ocasião da entrega do Prêmio Pritzker de Arquitetura de 2012, o juri declarou: " a proposta de Wang Shu em construir novas relações entre o passado e o presente é particularmente oportuna neste contexto, pois o recente processo de urbanização na China nos convida a debater se a arquitetura contemporânea deve estar ancorada na tradição ou se deve apenas olhar para o futuro." Sem sombra de dúvida, o avassalador crescimento econômico da China ao longo dos últimos anos muito se deve ao recente processo de urbanização do país, uma receita composta por construção massiva de infra-estrutura urbana e arranha-céus. Entretanto, este avassalador processo de crescimento urbano não trás apenas benefícios para o país e seus habitantes, muito pelo contrário. Antigos vilarejos e pequenas comunidades rurais estão sendo demolidas dia após dia, e com elas, a memória coletiva também vai se perdendo, tradições que foram passadas de geração em geração também estão desaparecendo aos poucos. De fato, os arquitetos passaram a ser os principais responsáveis por preservar estas memórias - para que uma parte fundamental da história e cultura deste país não se perca para sempre.

Neste contexto, o projeto do Museu Histórico de Ningbo, desenvolvido por Wang Shu em colaboração com sua esposa e parceira Lu Wenyu e inaugurado em 2008, representa uma monumental contribuição para a preservação desta história. Segundo a dupla de arquitetos, eles buscaram inspiração nos processos compositivos utilizados pelos tradicionais pintores chineses, primeiramente estudando a configuração da paisagem, seja ela urbana, natural ou uma mistura das duas coisas. Então, à medida passamos a melhor compreender a estrutura da paisagem onde um projeto será inserido, o edifício se materializa naturalmente em nossa mente, a partir de um profundo entendimento e respeito por seu contexto.

Para o projeto do Museu Histórico de Ningbo, a dupla concebeu a fachada do edifício como se fosse a seção de uma montanha, composta por camadas de telhas de barro, pedras e concreto armado. Ao reaproveitar os detritos dos antigos edifícios existentes no local, Wang procura chamar a atenção para um passado quase esquecido, ressignificando o substrato da memória em elementos fundamentais da estrutura do novo edifício, resíduos descartáveis que o arquiteto utiliza e incorpora na construção da cofragem permanente da estrutura de concreto do edifício, cimentando a história na própria arquitetura.

"O contexto, em certa medida, é mais importantes do que a própria arquitetura", argumenta Wang, "é a arquitetura que deve prestar homenagem à paisagem, e não o contrário." O Museu Histórico de Ningbo é uma estrutura construída a partir das reminiscências daquilo que antes ali existia, resíduos corporificados em uma nova fortaleza de concreto, um lugar de memória que desenterra um passado negligenciado, opondo-se à lógica da cidade contemporânea. Dessa forma, o edifício do Museu Histórico de Ningbo encontra ressonância em seu contexto histórico e cultural, em sua materialidade e imaterialidade.

Wang Shu é o principal defensor de uma "poética da reciclagem" na arquitetura. O arquiteto afirma que "um edifício não se materializa apenas durante a sua fase de construção, ele deve florescer com o tempo." Opondo-se drasticamente aos herméticos arranha-céus da China do século XXI, a obra de Wang Shu encontra-se profundamente enraizada nas tradicionais técnicas construtivas chinesas. Ao conectar-se com os artesãos locais, Wang nos convida à redescobrir os materiais mais tradicionais, trazendo-os de volta à superfície depois de muito tempo esquecidos. Durante o desenvolvimento do projeto, o arquiteto procura descobrir a procedência destes antigos materiais, solicitando a participação e o engajamento das comunidades locais no processo de construção.

Para o projeto do Campus da Nova Academia de Arte de Hangzhou, outro importantíssimo edifício concebido por Wang Shu e Lu Wenyu, os arquitetos adotaram um sistema construtivo local utilizado na construção dos muros de pedra dos campos de chá de Hangzhou. Através desta abordagem, eles procuraram ancorar simbolicamente o edifício na paisagem histórica e cultural da região. Wang projetou um muro composto por uma coleção de antigos tijolos e telhas de barro recicladas com 20 dimensões diferentes, além de corrimãos feitos de estrutura mista em aço e bambu.

"Queremos criar uma arquitetura voltada para as pessoas, adequada em suas relações de escala e uso. Procuramos privilegiar o uso materiais naturais e locais, como se o edifício brotasse da própria terra, enraizado em seu contexto cultural, social e natural. Não queremos que este edifício pareça deslocado, trazido de longe. Outro dado importante, é que com o passar do tempo, o edifício pareça cada vez mais adequado ao seu contexto, evoluindo no tempo e com o tempo", disseram Wang Shu e Lu Wenyu durante entrevista à CNN realizada em seu escritório de arquitetura, o Amateur Architecture Studio. O emprego de materiais locais, encontrados nos arredores do canteiro de obras e processados pelas mãos dos principais artesãos locais, também é um fator determinante para que estes edifícios encontrem ressonância em seu contexto específico.

É importante ressaltar que, quando a arquitetura é consciente de sua relação com o entorno, ela não é vista apenas como uma simples construção, mas como um elemento constituinte da própria paisagem. Por exemplo, quando Wang Shu propôs a construção de uma casa de hóspedes no campus de Xiangshan, enfatizando os elementos característicos dos edifícios existentes com as suas fachadas revestidas de bambu e paredes de terra batida, ele procura adaptar-se ao entorno ao invés de impor-se à ele.

A estrutura da pousada - ou casa de hóspedes - do Campus de Xiangshan ilustra a intenção dos arquitetos em "desenhar" o edifício a partir do local, ao invés de "projetá-lo" sobre ele. O edifício foi concebido como uma espécie de "paisagem vertical", simulando as tradicionais pinturas de paisagens chinesas, conhecidas por suas seqüências espaciais sobrepostas. Quando utilizamos inúmeros materiais para construir um edifício, justapondo-os em camadas sobre camadas, procuramos criar espaços flexíveis e adaptáveis à diferentes usos e programas, transformando a arquitetura contemporânea em uma expressão poética do passado.

A pesar de ter recebido importantes comissões ao longo dos últimos anos, na China, arquitetos como Wang Shu ainda dependem muito do apoio do governo local, sendo praticamente invisíveis aos olhos das grandes incorporadoras. No final das contas, projetos como estes só chegam a ver a luz do dia quando há uma estreita colaboração entre os arquitetos, a comunidade e as autoridades locais.

Em relação ao Museu de Arte Contemporânea de Ningbo, implantado na antiga área portuária da cidade de Ningbo, os arquitetos afirmam que este projeto é "um belo exemplo de um processo colaborativo desenvolvido entre arquitetos e autoridades locais." Foi somente por causa do apoio incondicional do governo local que o projeto do Museu pode ser concretizado tal e como os arquitetos haviam idealizado. Embora muitos edifícios históricos do antigo porto tenham sido demolidos por questões de segurança, Wang Shu e Lu Wenyu tentaram reconstruir a "essência original do espaço", incorporando os tijolos do edifício demolido para construir a base do edifício principal do Museu.

Para concluir, a obra construída de Wang Shu e Lu Wenyu nos ensina que através do reaproveitamento de materiais tradicionais, é possível construir uma nova relação não apenas com o meio ambiente, mas com a tradição construtiva local e a história do lugar. Como arquitetos e arquitetas que somos, também fazemos parte da história, e desta forma, uma arquitetura atemporal e profundamente enraizada em seu contexto específico é responsabilidade de todos nós.
Este artigo é parte do Tópico do ArchDaily: Reciclagem de Materiais. Mensalmente, exploramos um tema específico através de artigos, entrevistas, notícias e projetos. Saiba mais sobre os tópicos mensais aqui. Como sempre, o ArchDaily está aberto a contribuições de nossos leitores; se você quiser enviar um artigo ou projeto, entre em contato.

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Wang Shu e a reciclagem de materiais na arquitetura chinesa contemporânea

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Ao longo dos dois últimos séculos, a China passou por um vertiginoso processo de expansão demográfica e urbana, resultando na completa descaracterização de sua paisagem histórica, onde inúmeras pequenas cidades e vilarejos acabaram sendo varridos do mapa, substituídos por novas infra-estruturas urbanas e edifícios cada vez mais altos.

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Descrição enviada pela equipe de projeto. Esta residência fazia parte de um velho terraço adjunto a um apartamento construído em 1965. O proprietário trabalha no ramo do turismo, e certa vez alugou a residência planejando torná-la um espaço cultural. A residência serviriam como lugar de encontro, reunião, partilha em torno de uma cozinha onde são preparados pratos tradicionais vietnamitas, especialmente veganos. O espaço também oferece alojamento às pessoas durante sua estância no país.

O proprietário acumulou todas as coisas velhas abandonadas dos seus amigos antes de inseri-las no projeto. Eram todo o tipo de móveis, como mesa, cadeira, armário e janelas. Com um orçamento rigoroso, o arquiteto queria explorar estes objetos disponíveis e agregar outros novos para criar um lugar mais inovador que conservasse os valores tradicionais da antiga residência. As velhas janelas foram utilizadas como material principal para criar uma aparência distinta. Estas janelas estiveram muito presentes nas construções vietnamitas durante um logo período. Agora se reorganizam na nova fachada com diferentes cores e cobrem a antiga residência, envolvendo até o terraço e criando uma atração especial, assim como também uma harmonização com a antiguidade da área. Algumas janelas abertas no teto proporcionam o crescimento de vegetação no interior da residência, simbolizando o crescimento, a esperança e a bondade da mãe-natureza.

Estas janelas também aparecem dentro da residência como repartições de luz, independente e decoram o espaço. No térreo, existem longos armários curvos da cozinha que passam pela residência. A grande cozinha na parte frontal é o lugar de reunião, onde as pessoas conversam e desfrutam juntas da refeição. O jardim e uma antiga escada no primeiro pavimento estão entre estes espaços. Ainda no primeiro pavimento, está um dormitório e um lugar para relaxar ou trabalhar. Uma nova escada de aço foi construída ao lado do átrio por onde se acessa o segundo pavimento e onde era antigamente uma cobertura inutilizada. Um novo dormitório adicional foi feito com velhas chapas de aço que estão abaixo do sistema de cobertura a uma pequena distância para evitar que o calor afete seu interior. Desde este espaço, na parte frontal, existe um jardim para beber chá e admirar o céu noturno iluminado pela janela. Dois banheiros também foram desenhados para estes dormitórios. Um pequeno átrio não somente é situado no final do ambiente de ventilação cruzada, como também proporciona banheiros com luz natural. O material das paredes e pisos foi preservado. As superfícies de cimento, janelas de madeira e bambu no teto criam um lugar ao mesmo tempo moderno e antigo, revivendo a arquitetura vietnamita dos anos 60 e 70.

O arquiteto almejava criar um novo lugar para os recém chegados de muitas culturas diferentes. Sobre a base da reordenação das coisas velhas de um novo modo, podem coexistir juntos elementos antigos e modernos, apoiando-se mutuamente. Conforme passa o tempo, as pessoas darão uma nova vitalidade e uma nova alma à esta residência.

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Construído na 2014 na Ho Chi Minh , Vietnã. Imagens do Quang Tran. Esta residência fazia parte de um velho terraço adjunto a um apartamento construído em 1965. O proprietário trabalha no ramo do turismo, e certa vez...

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Economia Circular na Arquitetura: Como as Construções Sustentáveis Estão Adotando o Conceito - Arquiteto Sustentável

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A economia circular é um modelo econômico que visa maximizar a reutilização de recursos, minimizando o desperdício e o impacto ambiental. Ao contrário do

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Guia rápido de economia circular para arquitetos, engenheiros e construtores

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O modelo de economia circular tem chamado atenção nos últimos anos de diversos setores produtivos, inclusive o da arquitetura e construção civil.

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Bruna de Sá Arquitetura on Instagram: "Retrofit é enfrentar os percalços pelo caminho com técnica, paciência e imenso respeito por cada detalhe que o passado deixou, porque só vivendo o processo de perto é possível honrar a história e transformá-la com sensibilidade.

#retrofit #clubedaesquina #arquitetura #arquiteturabh #brunadesaarquitetura"

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brunadesa.arquitetura on June 10, 2025: "Retrofit é enfrentar os percalços pelo caminho com técnica, paciência e imenso respeito por cada detalhe que o passado deixou, porque só vivendo o processo de perto é possível honrar a história e transformá-la com sensibilidade.

#retrofit #clubedaesquina #arquitetura #arquiteturabh #brunadesaarquitetura". 

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View this post on Instagram

A post shared by Bruna de Sá Arquitetura (@brunadesa.arquitetura)

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Artigo apresenta o reuso adaptativo como possibilidade de transformação de estruturas e manutenção da memória e do patrimônio edificado em centros urbanos.

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Michel Rochefort Université Paris I – Sorbonne

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A progressiva globalização das trocas e as modificações nas estruturas de produção deram, nos últimos vinte anos, uma grande importância às funções de decisão e ao novo terciário de acompanhamento que se localizam nas maiores cidades e sobretudo nos países desenvolvidos. Essas novas metrópoles da globalização se organizam cada vez mais frequéntemente em espaços mais amplos que a cidade propriamente dita e constituem regiões metropolitanas. Para alguns trata-se de progresso e marcha para as “metápoles” do futuro. Para outros consiste em agravação, fortemente evidenciada nos países do Sul, da segregação socioespacial que opõe a cidade legal à cidade das urbanizações irregulares.

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A metrópole para além da nação: globalização e crise urbana

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Resumo O objetivo deste artigo, mais precisamente um ensaio, é refletir sobre o papel das…

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A crítica de Jencks á arquitetura monumental 

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A crítica de Jencks á arquitetura monumental 

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“No short formula for making great architecture” - Charles Jencks

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Impossible briefs like these result in trophy buildings or stillborn icons, Charles Jencks calls them. Icons make authentic statements.

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By Charles Jencks Rizzoli, 2005, 224 pp., hardcover $35. New Urbanism has yet to produce its equivalent of Frank Gehry’s Guggenheim Museum in Bilbao: a building so astonishing that it generates excitement worldwide.

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Global city densities: re-examining urban scaling theory

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Understanding scaling relations of social and environmental attributes of urban systems is necessary for effectively managing cities. Urban scaling theory (UST) has assumed that population density scales positively with city size. We present a new global analysis using a publicly available database of 933 cities from 38 countries. Our results showed that (18/38) 47% of countries analyzed supported increasing density scaling (pop ~ area) with exponents ~5/6 as UST predicts. In contrast, 17 of 38 countries (~45%) exhibited density scalings statistically indistinguishable from constant population densities across cities of varying sizes. These results were generally consistent in years spanning four decades from 1975 to 2015. Importantly, density varies by an order of magnitude between regions and countries and decreases in more developed economies. Our results (i) point to how economic and regional differences may affect the scaling of density with city size and (ii) show how understanding country- and region-specific strategies could inform effective management of urban systems for biodiversity, public health, conservation and resiliency from local to global scales.

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Charles Jencks e a linguagem da arquitetura pós moderna 

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Charles Jencks e a linguagem da arquitetura pós moderna 

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Writing ‘from the Battlefield’: Charles Jencks and The Language of Post-Modern Architecture – Jencks Foundation

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In 1977, in his ‘Language of Post-Modern Architecture’ Jencks declared the death of modern architecture. For many decades to come, in seven subsequent editions of this seminal book, he kept refining, mapping and diagramming his theory of Post-Modern. To revisit Jencks’ definitions of Post-Modern and debate their relevance to today’s architectural and broader culture, we have invited a number of authors – scholars, architects, curators, and writers – to respond to the question ‘What is/was Post-Modern?’ Lea-Catherine Szacka’s essay traces the evolution of the term in Jencks’ writing and questions how his medium and working method might have been a crucial influence on his theories of the Post-Modern.

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Globalization and Architecture: The Dependency on Foreign Talent in the Global South

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Explore how foreign architects shape the Global South’s architectural identity amid globalization and local talent evolution.

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Governo de cidades inteligentes em países em desenvolvimento

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Governo de cidades inteligentes em países em desenvolvimento

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Smart City Governance in Developing Countries: A Systematic Literature Review

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Smart cities that make broad use of digital technologies have been touted as possible solutions for the population pressures faced by many cities in developing countries and may help meet the rising demand for services and infrastructure.

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Nova York, principal cidade global da atualidade

Nos dias atuais, com a globalização em estágio avançado de desenvolvimento e a maior conectividade da economia internacional, a urbanização dos principais centros do capitalismo mundial vem ganhando novos contornos, assumindo a frente da hierarquia urbana em todo o planeta. Essas cidades com elevado grau de desenvolvimento estrutural, econômico e político são classificadas como cidades globais.

As cidades globais são, desse modo, os principais pontos ou "nós" que formam a rede mundial que configura as dinâmicas da globalização. Elas centralizam em torno de si as principais decisões burocráticas, além de sedes das principais empresas e instituições internacionais públicas e privadas. Além disso, na maioria dos casos, essas cidades congregam um grande volume proporcional e cidades adjacentes, formando grandes metrópoles, embora isso não seja uma regra.

De um modo geral, podemos dizer que as cidades globais exercem uma função de coordenar as dinâmicas econômicas, políticas e burocráticas em todo o mundo ou em regiões específicas, pois carregam consigo serviços especializados, centros tecnológicos e científicos, sedes de grandes bancos, bolsas de valores etc. A cidade de São Paulo, por exemplo, exerce uma grande influência nos serviços, estruturas e negócios de toda a América do Sul; Nova York, por sua vez, realiza a mesma influência, porém em âmbito global.

O que se percebe é que, mesmo as cidades mais desenvolvidas agrupam-se em hierarquias internas, havendo aquelas que possuem um grau de centralidade e poder maior do que as demais. Por esse motivo, a rede de pesquisas GaWC ( Globalization and World Cities), do Departamento de Geografia da Universidade de Loughborough, no Reino Unido, classificou as 129 cidades globais existentes conforme o seu grau de desenvolvimento e infraestrutura, entre outros fatores.

Nessa subdivisão, as cidades foram segmentadas conforme três principais níveis: Alfa, Beta e Gama, estes subdivididos em subníveis intermediários, conforme podemos observar no quadro a seguir:

Quadro da classificação das cidades globais segundo a GaWC (2010) ¹

No mundo, de acordo com essa classificação, só existem duas grandes cidades padrão Alfa ++, que são Londres e Nova York, pois são consideradas os principais centros financeiros da atualidade, agregando em torno de si as principais decisões e serviços da economia internacional. A cidade de São Paulo, uma das principais da América do Sul, encontra-se no padrão Alfa, já Buenos Aires está classificada em Alfa -; o Rio de Janeiro, em Beta -; e Curitiba e Porto Alegre, em Gama -.Quadro da classificação das cidades globais segundo a GaWC (2010) ¹ Título: Classificação das cidades globais

Não pare agora... Tem mais depois da publicidade ;)

A seguir temos a lista de todas as cidades globais conforme a classificação acima apresentada:

Alfa ++: Londres e Nova York;

Alfa +: Hong Kong, Paris, Singapura, Xangai, Tóquio, Pequim, Sydney e Dubai;

Alfa: Chicago, Mumbai, Milão, Moscou, São Paulo, Frankfurt, Toronto, Los Angeles, Madrid, Cidade do México, Amsterdã, Kuala Lumpur e Bruxelas;

Alfa -: Seul, Joanesburgo, Buenos Aires, Viena, São Francisco, Istambul, Jacarta, Zurique, Varsóvia, Washington, Melbourne, Nova Déli, Miami, Barcelona, Bangkok, Boston, Dublin, Taipei, Munique, Estocolmo, Praga e Atlanta.

Beta +: Índia, Lisboa, Copenhague, Santiago, Dallas, Filadélfia, Atenas, Berlim, Bogotá, Cairo, Düsseldorf, Hamburgo, Houston, Manila, Montreal, Roma, Tel Aviv e Vancouver.

Beta: Auckland, Beirute, Bucareste, Budapeste, Cidade do Cabo, Caracas, Chennai, Cantão (China), Cidade de Ho Chi Minh, Carachi, Kiev, Lima, Luxemburgo, Manchester, Mineápolis, Montevidéu, Oslo, Riade e Seattle.

Beta -: Abu Dhabi, Birmingham, Bratislava, Brisbane, Calcutá, Calgary, Casablanca, Cleveland, Colônia, Denver, Detroit, Genebra, Cidade da Guatemala, Helsinque, Lagos, Manama, Monterrey, Nicósia, Osaka, Cidade do Panamá, Perth, Port Louis, Rio de Janeiro, San Diego, San Juan (Porto Rico), Shenzhen, Sófia, St. Louis e Stuttgart.

Gama +: Adelaide, Amã, Antuérpia, Baltimore, Belgrado, Bristol, Charlotte, Cincinnati, Doha, Edimburgo, Glasgow, Hanoi, Hyderabad, Jidá, Cidade do Kuwait, Lahore, Nairóbi, Portland, Riga, San José (Costa Rica), San Jose (EUA), Tunis e Zagreb.

Gama: Almaty, Columbus, Edmonton, Guadalajara, Indianápolis, Kansas City, Leeds, Lyon, Phoenix, Pittsburgh, Quito, Roterdã, San Salvador, Santo Domingo e São Petersburgo.

Gama -: Acra, Austin, Belfast, Colombo, Curitiba, Durban, George Town, Gotemburgo, Guayaquil, Islamabad, Ljubljana, Marselha, Milwaukee, Mascate, Nagoya, Orlando, Ottawa, Porto, Porto Alegre, Pune, Richmond, Southampton, Tallinn, Tegucigalpa, Turim e Wellington (Nova Zelândia).

Mapa com as cidades acima listadas ²

________________________

¹ Dados: The World According to GaWC (2010)
² Créditos da imagem: Wikimedia Commons

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Cidades globais. Economia internacional e cidades globais - Mundo Educação

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Nos dias atuais, com a globalização em estágio avançado de desenvolvimento e a maior conectividade da economia internacional, a urbanização dos principais centros do capitalismo mundial vem ganhando novos contornos, assumindo a frente da hierarquia urbana em todo o planeta. Essas cidades com elevado grau de desenvolvimento estrutural, econômico e político são classificadas como cidades globais.

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A cidade global do Rio de Janeiro: modelo em conflito - Observatório das Metrópoles

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O Rio de Janeiro vive um momento de ilusão, do renascimento urbano por meio dos megaeventos esportivos. Essa ilusão a que se refere Fernanda Sánches fundamenta a análise de Daphne…

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Rio de Janeiro e seu reconhecimento internacional na arquitetura. 

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Rio de Janeiro e seu reconhecimento internacional na arquitetura. 

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Rio de Janeiro Receives the First-Ever Title of UNESCO World Capital of Architecture

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Located in Brazil—a country that helped shape renowned architects such as Oscar Niemeyer and Lúcio Costa—Rio will host thousands of attendees for the World Congress of Architects in 2020

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bolsa de valores americana

A New York Stock Exchange (em português: Bolsa de Valores de Nova Iorque), cuja abreviação oficial é NYSE, é a bolsa de valores de Nova Iorque. Está localizada em Manhattan, na Wall Street.

A Bolsa de Valores de Nova Iorque, oficialmente chamada " New York Stock Exchange" (NYSE) foi oficialmente criada e estabelecida em 8 de março de 1817. Porém, sua precursora foi uma associação nova-iorquina de grandes empresários locais (comerciantes, banqueiros e corretores de ações e outros valores mobiliários) formada mediante um pacto firmado em 17 de maio de 1792, o qual ficou conhecido como Acordo de Buttonwood, que regulamentava as transações de ativos e valores mobiliários praticadas na cidade. A atual sede da NYSE foi instalada e inaugurada em 1903, num prédio enorme de arquitetura clássica localizado em Wall Street, no distrito de Manhattan, considerado como o centro financeiro da cidade. Nessa bolsa de valores, são transacionadas ações das maiores empresas estadunidenses. Em 2006, a NYSE juntou-se à Euronext, formando assim o primeiro mercado de capitais pan-atlântico.

É considerada uma das mais famosas instituições financeiras da Cidade de Nova Iorque. É a maior bolsa de valores dos Estados Unidos e, juntamente com a NASDAQ e a American Exchange, uma das mais influentes do mundo. De 2002 a 2014 foi parte da NYSE Euronext, atualmente faz parte da IntercontinentalExchange.

Em 2 de junho de 1978, o prédio da NYSE foi inscrito no Registro Nacional de Lugares Históricos,[1] [2] bem como, na mesma data, um Marco Histórico Nacional.[3] [4] [5]

Em 24 de outubro de 1929, ocorreu a quebra da Bolsa de Valores de Nova Iorque, chamada de Quinta-feira negra. O crash desencadeou a mais devastadora crise econômica da história dos Estados Unidos, considerando-se a abrangência e a duração dos seus efeitos. Marca o início dos 12 anos da Grande Depressão, que afetou todos os países ocidentais industrializados.

Referências

Ligações externas editar

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Bolsa de Valores de Nova Iorque - Wikipédia, a enciclopédia livre

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bolsa de valores americana A New York Stock Exchange (em português: Bolsa de Valores de Nova Iorque), cuja abreviação oficial é NYSE, é a bolsa de valores de Nova Iorque. Está localizada em Manhattan, na Wall Street. A Bolsa de Valores de Nova Iorque, oficialmente chamada " New York Stock Exchange" (NYSE) foi oficialmente criada e estabelecida em 8 de março de 1817.