Articles by Kaley Overstreet

With the COVID-19 pandemic forcing many architecture firms to quickly transition into a work from home, designers are having to discover new ways to work without everyone being in the same room. The casual conversations, overheard ideas, and site visits that were once an integral part of our jobs have been put on pause, and have left some architects wondering how everyone else is continuing project work.

The “smart” movement has gained traction and generated buzz over the last decade, but despite all of the hype, what even is a smart city? The dogma behind its loose definition and goals has been rather elusive, and while some claim that it relies on digitization of all urban aspects, others argue an increase in personal data collection is the sole method for improving urban lifestyles. One person’s digital paradise is perhaps another person’s technophobic doomsday. Extending beyond the mere definition of these cities, what role do designers and researchers play in creating this loosely identified futuristic landscape? As Corbusier once defined a home as a machine for living, it’s time to redefine how our buildings shed their passive exteriors and become the true machines for working that they were always meant to be.

Europe in the 1960’s was the incubator for the emergence of young, provocative, and avant-garde architecture radicals including Archizoom, Superstudio, Ant Farm, and UFO. These groups rebelled against traditional architecture dogma in favor of exalting tropes that celebrated counterculture ideals, and an interest in designs that could extend both time and space. Archigram, the London-based faction of this movement, didn’t try to reinvent modernist principles, but instead tried to accelerate them and push the conservative climate to become more future-proof. Rightfully so, they felt that art and architecture was falling behind with their inability to keep up with products and technological advancements that were already a part of daily life. While Archigram’s ideas and drawings were often criticized as being frivolous, the group’s prophecies about the future have been realized in many ways, and still largely influence architectural discourse in the present day.

North Korea is a country known for it’s rising nuclear tensions, extreme militaristic showboating, and draconian views of human rights. As one of the few remaining places on earth that is almost entirely shut off from the rest of the world, little is known about day to day life in the communist state. But for a nation that is so heavily shrouded in mystery and uncertainty, the efforts of their architectural bravado provide some insight into how their regime operates.

In every casino, there’s much more than meets the eye. Although guests are typically only aware of what’s happening on a surface level, a casino’s ability to create a false sense of reality extends beyond the programming of slot machines and betting against the odds at the tables. It reaches far into every corner of the room and is designed in such a way, that their intentionality behind every flashing light, “cha-ching!” jackpot noise, smokey bar, and endless maze of slot machines all come together to place a bet against human psychology. They say there’s a reason why the house always wins, but what is it about the design of these spaces and the allure of the gambling table that makes visitors always come back for more?

Architects around the world are constantly striving to explore new ways of using materials that are both more environmentally friendly, and can create impactful designs that demonstrate new abilities of creativity. For 2020 Pritzker Prize winners Yvonne Farrell and Shelley McNamara of Grafton Architects, these ideas are at the forefront of every project they design, but became especially meaningful when they visited their completed “carved mountain” project, University Campus UTEC, in Lima, Peru for the first time.

In honor of International Women’s Day celebrated on March 8, it’s important to reflect upon and acknowledge the progress that women across all design professions have made over the last several years. From more women being appointed to leadership roles in prominent academic institutions around the world, Jeanne Gang being named to Time 100’s Most Influential People in 2019, the all-female team of Counterspace being awarded the design of the Serpentine Pavilion in London, and the first female practice winning the prestigious Pritzker Prize only a few days ago, more women in architecture are gaining the recognition that they deserve in this traditionally male-dominated profession.

While cemeteries have long served as a place in which we can honor and remember our loved ones, they are also often places that showcase architecture, and landscape design. In the late 19th century, cemeteries evolved from overcrowded and unsanitary urban spaces into rural, park-like social centers. In cities that lacked public parks, cemeteries became popular destinations for picnics, holidays, and other family gatherings.

It has been just over a week since the 7.0 magnitude earthquake destroyed 50,000 homes in North Lombok, a city just east of the island of Bali, Indonesia. Although much of the town is gone, the community has already rallied together to begin the long and arduous rebuilding process. With the rainy season approaching in less than two months, DOME Lombok is working to begin building earthbag domes and teaching their construction techniques to help the area rebuild.

The island nation of Taiwan is a country that boasts both a high population density and a wide range of ecosystems. However, a large issue that the country is currently facing involves the energy production and consumption, and the negative impact it has on the environment. With the largest power plant slated to be shut down by 2023, a team from Taiwan has devised an architectural proposal for how to construct a plant that both generates enough electricity to serve the metropolitan area and reduce its negative impact on the air quality and surrounding wetlands.