In Still Ugly After All These Years: A Close Reading of Peter Eisenman’s Wexner Center, Alexander Maymind argued the center's "grid-based diagrams instantiate disestablishment effects[2]...hinge on a particular aesthetic reading of architectural ugliness." 18x32 responded "I like where you've gone with the 'Ugly' here, but I don't think this building offers the best example. Nothing about Wexner is viscerally repellant, abhorrent or disgusting."

“This project presents a novel approach to U.S. locomotive development, looking to technologies of the past to inspire solutions for today’s sustainability challenges."
- Sustainable Rail International President Davidson Ward, 2010 School of Architecture graduate from the College of Design at the University of Minnesota — UMNews

Campus 2, as it is currently called, will not replace the 1 Infinite Loop campus. Instead, it will provide “research facility” office space for an additional 13,000 employees, which is more than 3,000 than 1 Infinite Loop. There is also 300,000 feet of expansion space for future growth. — 9to5mac.com

The original rationale for the open-plan office, aside from saving space and money, was to foster communication among workers, the better to coax them to collaborate and innovate. But it turned out that too much communication sometimes had the opposite effect: a loss of privacy, plus the urgent desire to throttle one’s neighbor. — New York Times

As we mention more and more that 21st century will be the century of rising sea levels, depletion of energy resources and century of urban nature, we still think the solution to these problems are once again will be produced by our far superior technological society as if we know these things better.
We don't. — architects for peace

Yesterday's gray sky and drizzle couldn't keep anxious press away from the rooftop of the Metropolitan Museum of Art where Argentine artist and architect Tomas Saraceno was officially debuting his new project "Cloud City". A sculptural constellation of 16 geodesic pods, Cloud City "floats" above the museum's roof anchored by steel cables... The futuristic construction features over 100 planes... — Inhabitat

Urban planning has focused on identifying many important questions about the formation and functioning of our cities. However, there is a lack of understanding about the spatial patterns related to material and energy use in cities. This work attempts to address this knowledge gap. — urbmet.org

So Paluska and Meyer Sound, a world-renowned audio engineering company in Berkeley, teamed up to test a relatively new technology that controls reverberation levels with the press of a button. By using a combination of sound absorption materials, microphones, speakers and a digital processor, Paluska can make his restaurant as loud or as soft as he wants. — sfgate.com

Before the recession and the return of architectural probity, the phrase "like an alien spaceship" was all over architecture journalism like a cheap suit. Faced with anything that didn't look like a brick box, critics and headline writers would ransack their imaginations before inevitably reaching for the extra-terrestrial. — Guardian

The project, which is now called Blueseed, is led by a team of execs plucked from Thiel's Seasteading Institute. Although the original plans for the floating tech village looked something like a fancy oil rig from the future, the latest plan is to either convert a cruise ship or remodel an old barge in to a swanky island anchored just outside the jurisdiction of the United States. — sfist.com

Victoria Newhouse - "aesthetically I think they are greatly improved from what we had before...they're smaller and more intimate...more inviting...they are acoustically improved...and many of them have the ability to be reconfigured...all of this leads to a very exciting scene" — Charlie Rose

IN THE hands of Urbanscreen, buildings become toys in a surreal world in which Salvador Dali or Lewis Carroll's Alice would feel at home.

Structures get torn apart, turned to ice or covered with ants and are made to disintegrate, pulsate, morph into strange shapes or become a gigantic pinball machine. — smh.com.au

Even tougher, Ms. Yamamoto said, would be the labor involved in grafting the system onto the city’s existing archaic reservation network or building a new one from scratch.

Jake Levitas, research director at the Gray Area Foundation for the Arts, the San Francisco digital arts nonprofit that conceived Creative Currency, believes that such obstacles are best surmounted by applying the hacker mind-set to community issues. — The Associated Press