The History of Science Centre acts as a mediator bringing past Islamic sciences of the “golden age” in relation to the current university studies at the German University of Technology (GUtech) in Halban, Oman. The building aims to create a link between art and science with nature and geometry whilst symbolizing infinity and divinity.
Located in Kaohsiung, the heavy industry center in Taiwan, this project is an incubation center consisting of offices, research rooms, convention hall and exhibition galleries along with three smart manufacturing laboratories.
AZULIK Uh May is a new multi-faceted art centre in Francisco Uh May, Mexico, due to open at the end of November. It is the latest project of Roth (Eduardo Neira), the founder and designer of luxury resort AZULIK and the adjacent art space IK LAB.
Designed as a 10,000-square-metre, three-storey, multi-disciplinary space by UK-based Serie Architects, Jameel Arts Centre is the first non-governmental contemporary arts institution of its kind in the Gulf.
The design of the CAA / Águeda Arts Center responds to the challenge of creating a solution well adapted to the context (not only physical but also cultural, economic and political) while creating a world-class cultural platform. A rational approach to the program was translated into a system designed to maximize functionality.
The Walk Above the Vineyards is located near the village of Kobylí on the Kobylí vrch hill. The hill is covered in vineyards and at 334 meters its summit is the highest point in the area. “It was this place that inspired us to design the Walk. The observation deck is shaped like a 334° circle ramp segment, unobtrusively overlooking the beautiful surrounding landscape. The circle represents the natural circle of life and is a symbolic reference to the growth of Kobylí,” explains Jiří Vojtěšek, one of the two architects.
Wrightwood 659 is an exhibition space in Chicago, designed by Tadao Ando, who has transformed a 1920s building with his signature concrete forms and poetic treatment of natural light. Wrightwood 659 will be devoted to exhibitions of architecture and socially engaged art.
The exciting 250,000 square foot Phillip and Patricia Frost Museum of Science (Frost Science) in Miami, FL brings together an aquarium, planetarium and science museum onto one campus in downtown Miami’s Museum Park. Taking advantage of the city’s plentiful sunshine, ocean breezes from nearby Biscayne Bay and views to a growing downtown skyline, the inventive architecture of the museum furthers Miami-Dade County’s cultural offerings in a sophisticated, contemporary building.
Designed by Dutch architects Mecanoo, the extraordinary architecture of Weiwuying is inspired by the sinuous canopy created by clusters of banyan trees commonly found in the region. The single sweeping building covers a surface area of 35 acres (141,000 sqm) and is set in the spectacular 116-acre (470,000 sqm) subtropical park in the heart of Kaohsiung, making it the world’s largest performing arts centre under one roof as well as Taiwan’s most significant cultural investment in a generation. It incorporates five state of the art performance spaces: a 2,236-seat Opera House, a 1,981-seat Concert Hall, a 1,210-seat Playhouse, a 434-seat Recital Hall and an Outdoor Theater linking the building to the park.
This article was originally published on November 25, 2014. To read the stories behind other celebrated architecture projects, visit our AD Classics section.
Architects have never enjoyed a position of such supreme prominence as they did in the worldview of Buckminster “Bucky” Fuller. To him, architects alone were capable of understanding and navigating the complex interrelationships of society, technology, and environment as viewed through the comprehensive paradigm of systems theory. Architecture, in this model, was intended to exist in close contact with both mankind and nature, playing civilization’s most critical role in elevating the state of humanity and promoting its responsible stewardship of the environment. Emerging from the ethical positivity of postwar modernism, this melioristic perspective marks perhaps the zenith of optimism’s ascent in mid-twentieth century thought, and gave Fuller a uniquely moral blueprint for his revolutionary designs.