Designed by engineer André Waterkeyn for the 1958 World’s Fair in Brussels, Belgium, Atomium is a 102m (335 ft) tall model of a unit cell of an iron crystal (each sphere representing an atom) enlarged 165 billion times. Filmmaker Richard Bently was allowed access to shoot this great exterior and interior timelapse of the building which is comprised of 27 sequences filmed over five nights and two days. (via Vimeo)
I don’t know about you, but few exciting things ever transpired for me on a school bus. It always smelled like gas fumes, and its primary purpose was to transport me to a place I didn’t always want to to go. But this bus, designed by architecture student Hank Butitta, is a whole different story.
Also somewhat disinterested with school, Butitta was tired of designing buildings that didn’t exist for imaginary clients and wanted to work with his hands to put some of his ideas into practice. So, he bought a bus off Craigslist and along with some help from photographer Justin Evidon and brother Vince, the trio spent nearly 14 weeks converting the ramshackle old bus into a sleek, modular living environment complete with a kitchen, bathroom, beds, storage, and even a floor made from wood panels stripped from an old gymnasium.
Now that Hank’s final presentation is over the group is embarking on a 5,000 mile tour around the U.S. which has just about reached its halfway point. You can see more photos, video, and follow their travels over at Hank Bought a Bus. (via Home Designing, Gizmodo, Le Monde Tue Nini)
While most property and homeowners might be lucky to erect a small fence, add a new wall, or plant a few trees without applying for a permit or checking local zoning laws, things in Bejing are apparently quite different. For the last six years an eccentric doctor built a sprawling mountain villa on the roof above his top-floor flat in this 26-story residential building, all without asking permission of residents or local authorities. The enormous addition covers the entire 1000-square-metre roof and was built using artificial rocks but with real trees and grass.
It only took six years of complaints from neighbors who suffered from the noise and vibrations of heavy construction machinery, water leaks, and other disturbances to finally get the attention of authorities who recently gave the man 15 days to remove the mountain or else it will face forcible removal. Read more over on the South China Morning Post. (via dezeen)
For their very first date, photographer Nick Olson took designer Lilah Horwitz on a walk in the mountains of West Virginia. While chatting and getting to know each other during a particularly scenic sunset the two jokingly wondered what it would be like to live in a house where the entire facade was windows, so the sunset would never be contained within a small space. Where most people would file the idea away as a dream or maybe an item at the bottom of a bucket list, the newly minted couple were a bit more aggressive. Less than a year later the two quit their jobs and embarked on a road trip starting in Pennsylvania to collect dozens of windows from garage sales and antique dealers. A few weeks later they arrived in West Virginia and built the glass cabin in the exact same spot where they envisioned it on their fist date.
Filmmakers Matt Glass and Jordan Wayne Long of Half Cut Tea caught up with Horwirz and Olson to learn more about the construction of the building and their unusually strong commitment to following through with their artistic visions.
For the last thirteen years Serpentine Gallery has invited a guest architect to design a temporary structure on the London gallery’s front lawn. In what is billed as “the most ambitious architectural program of its kind worldwide,” designs have come from such visionaries as Ai Weiwei in 2012 and Frank Gehry in 2008. This year, Japanese architect Sou Fujimoto (who at 41 become the youngest to accept the invitation) constructed a large network of 20mm steel poles and latticed metal that covers an area of 3,800 square feet.
While the white pavilion is impressive in its own right, the gallery further commissioned London-based United Visual Artists to create a network of LED lights that are meant to mimic the natural forms of an electric storm. At night the normally grounded structure becomes an electrified geometric cloud that flashes and pulsates with light. The installation is further enhanced by an accompanied soundtrack of precisely timed soundbites including the buzzing of electrical plants, effectively creating an auditory effect of thunder. A somewhat similar intervention took place here in Chicago a few years ago when LuftWerk transformed Anish Kapoor’s Cloud Gate. (via Wired, Huffington Post)
Created in 2009 by Japanese artist Aki Inomata, these fantastic little cityscapes atop hermit crab shells were part of a body of work titled “Why not hand over a shelter to hermit crabs?.” Keeping the welfare of the animal in mind, Inomata studied the needs of the hermit crab to select a compatible shell and used a CT scanner to image the interior of sea shells so she could adapt her own miniature sculptures into suitable homes. The small buildings and skylines were then designed atop the plastic shell forms to mimic the architecture of various cities including New York, Tokyo, Bangkok and elsewhere.
As hermit crabs outgrow their shells it becomes necessary to find a new, larger home. With this project Inomata hoped to draw a parallel to our own need as humans to migrate or find shelter in a new city. Photographs of the final works were on display at Ai Kowada Gallery. (via designboom)
Recently installed at the Palais de Tokyo in Paris, this gigantic Gordian Knot was constructed by Brazilian artist Henrique Oliveira who is known for his near complete organic transformations of interior and exterior spaces. Titled Baitogogo, the work depicts an architectural grid of columns and support beams that seem to morph into a chaotic tangle of branches or roots. Via the Palais de Tokyo:
Through a kind of architectural anthropomorphism, Henrique Oliveira reveals the building’s structure. At Palais de Tokyo, he plays on the space’s existing and structuring features, prolonging and multiplying pillars in order to endow them with a vegetable and organic dimension, as though the building were coming alive. The artist draws inspiration from medical textbooks, amongst others, and particularly from studies of physical pathologies such as tumors. Through a formal analogy, these outgrowths evoke the outermost layers of the bark of a common tree.