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How New York's Famous Citi Building Was Almost Wiped Out By A Huge Design Flaw

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Citigroup CenterRoman Mars’ podcast 99% Invisible covers design questions large and small, from his fascination with rebar to the history of slot machines to the great Los Angeles Red Car conspiracy.

Here at The Eye, we cross-post new episodes and host excerpts from the 99% Invisible blog, which offers complementary visuals for each episode.

This week's edition—about the design flaw that almost wiped out one of New York City’s tallest buildings—can be played below. Or keep reading to learn more.


When it was built in 1977, Citicorp Center (later renamed Citigroup Center, now called 601 Lexington) was, at 59 stories, the seventh-tallest building in the world.

You can pick it out of the New York City skyline by its 45 degree-angled top.

But it’s the base of the building that really makes the tower so unique. The bottom nine of its 59 stories are stilts.Citigroup center

This thing does not look sturdy. But it has to be sturdy.

Otherwise they wouldn’t have built it this way.

Right?

The architect of Citicorp Center was Hugh Stubbins, but most of the credit for this building is given to its chief structural engineer, William LeMessurier.

The design originated with the need to accommodate St. Peter’s Lutheran Church, which occupied one corner of the building site at 53rd Street and Lexington Avenue in midtown Manhattan. (LeMessurier called the a church “a crummy old building … the lowest point in Victorian architecture." You can be the judge.)

The condition that St. Peter’s gave to Citicorp was that they build the church a new building in the same location. Provided that corner of the lot not be touched, the company was free to build their skyscraper around the church and in the airspace above it.

LeMessurier said he got the idea for the design while sketching on a napkin at a Greek restaurant.

Here’s what’s going on with this building:

  • Nine-story stilts suspend the building over St. Peter’s church. But rather than putting the stilts in the corners, they had to be located at the midpoint of each side to avoid the church.

  • Having stilts in the middle of each side made the building less stable, so LeMessurier designed a chevron bracing structure—rows of eight-story V’s that served as the building’s skeleton.

  • The chevron bracing structure made the building exceptionally light for a skyscraper, so it would sway in the wind. LeMessurier added a tuned mass damper, a 400-ton device that keeps the building stable.

It was an ingenious, cutting edge design. And everything seemed just fine—until, as LeMessurier tells it, he got a phone call.

According to LeMessurier, in 1978 an undergraduate architecture student contacted him with a bold claim about LeMessurier’s building: that Citicorp Center could blow over in the wind.

The student (who has since been lost to history) was studying Citicorp Center and had found that the building was particularly vulnerable to quartering winds (winds that strike the building at its corners). Normally, buildings are strongest at their corners, and it’s the perpendicular winds (winds that strike the building at its faces) that cause the greatest strain.

But this was not a normal building.

LeMessurier had accounted for the perpendicular winds, but not the quartering winds. He checked the math and found that the student was right.

He compared what velocity winds the building could withstand with weather data and found that a storm strong enough to topple Citicorp Center hits New York City every 55 years.

But that’s only if the tuned mass damper, which keeps the building stable, is running. LeMessurier realized that a major storm could cause a blackout and render the tuned mass damper inoperable. Without the tuned mass damper, LeMessurier calculated that a storm powerful enough to take out the building his New York every 16 years.

In other words, for every year Citicorp Center was standing, there was about a 1-in-16 chance that it would collapse.

LeMessurier and his team worked with Citicorp to coordinate emergency repairs. With the help of the NYPD, they worked out an evacuation plan spanning a 10-block radius. They had 2,500 Red Cross volunteers on standby, and three different weather services employed 24/7 to keep an eye on potential windstorms. They welded throughout the night and quit at daybreak, just as the building occupants returned to work.

But all of this happened in secret, even as Hurricane Ella was racing up the eastern seaboard.

Hurricane Ella never made landfall. And so the public—including the building’s occupants—were never notified. And it just so happened that New York City newspapers were on strike at the time.

The story remained a secret until writer Joe Morgenstern overheard it being told at a party, and interviewed LeMessurier. Morgenstern broke the story in The New Yorker in 1995.

And that would have been the end of the story. But then this happened:

The BBC aired a special on the Citicorp Center crisis, and one of its viewers was Diane Hartley. It turns out that she was the student in LeMessurier’s story. She never spoke with LeMessurier; rather, she spoke with one of his junior staffers.

Hartley didn’t know that her inquiry about how the building deals with quartering winds led to any action on LeMessurier’s part. It was only after seeing the documentary that she began to learn about the impact that her undergraduate thesis had on the fate of Manhattan.

To learn more, check out the 99% Invisible post or listen to the show.

99% Invisible is distributed by PRX.

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5 Awesome Micro Homes You Can Take On The Road

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If you can't decide whether you want to spend warm summer days at the beach, in the forest, or strolling around a different city, you can choose them all by taking your own portable micro-home on holidays with you.

From an eco-lux camper trailer or self-sufficient walking house to a tricycle home complete with its own garden, check out our five favorite designs for the best nomadic summer imaginable.

1. N55's Walking House

N55 Walking Micro HouseDanish experimental studio N55 designed a modular, self-sufficient home that can walk. The Walking House is a sustainable living unit complete with solar panels, micro windmills, and a composting toilet.

2. Green Mountain College Student's OTIS

Green Mountain Otis Micro HouseA group of students at Green Mountain College created a brilliant mobile shelter for the Renewable Energy and Ecological Design class. They called it OTIS (Optimal Traveling Independent Space) and its 70 square feet hold a sleeping area and a rainwater collector, all powered by the sun and made from reclaimed materials.

3. Architecture and Vision's MercuryHouseOne

MercuryHouseOne Micro HouseItalian studio Architecture and Vision designed a futuristic mobile lounge, which was unveiled at the Venice Biennale. Dubbed "MercuryHouseOne", it's equipped with all the latest sound and lighting equipment and is totally powered by the sun.

4. Timeless Travel Trailers' Renovated '50s Airstream

Airstream Micro houseAmerica’s outdoors company Timeless Travel Trailers discovered a 1954 Flying Cloud Airstream in mint condition. Originally used as an old hunting and fishing lodge near a lake in Oregon, the restored vehicle now offers the perfect luxury shelter for outdoorsy adventurers.

5. Moby1's XTR

Moby1 XTR Micro HouseMoby1's stylish camping micro-home is a modern spin on the classic 50s Teardrop Trailer. Dubbed XTR, it includes a rooftop tent, space for a real mattress, running water, and solar panels for a comfortable stay out in the wild.

SEE ALSO: 23 Ridiculously Small Houses For Sale Right Now

MORE DESIGN NEWS: On Business Insider's Pinterest

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The Way Your Office Is Set Up Could Be Affecting Your Work

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office architecture

In 1952, polio killed more children in America than any other communicable disease.

Nearly 58,000 people were infected that year. The situation was on the verge of becoming an epidemic and the country desperately needed a vaccine.

In a small laboratory at the University of Pittsburgh, a young researcher named Jonas Salk was working tirelessly to find a cure. (Years later, author Dennis Denenberg would write, “Salk worked sixteen hours a day, seven days a week, for years.”)

Despite all his effort, Salk was stuck. His quest for a polio vaccine was meeting a dead end at every turn. Eventually, he decided that he needed a break. Salk left the laboratory and retreated to the quiet hills of central Italy where he stayed at a 13th-century Franciscan monastery known as the Basilica of San Francesco d’Assisi.

The basilica could not have been more different than the lab. The architecture was a beautiful combination of Romanesque and Gothic styles. White-washed brick covered the expansive exterior and dozens of semi-circular arches surrounded the plazas between buildings. Inside the church, the walls were covered with stunning fresco paintings from the 14th and 15th centuries and natural light poured in from tall windows.

It was in this space that Jonas Salk would have the breakthrough discovery that led to the polio vaccine. Years later, he would say…

“The spirituality of the architecture there was so inspiring that I was able to do intuitive thinking far beyond any I had done in the past. Under the influence of that historic place I intuitively designed the research that I felt would result in a vaccine for polio. I returned to my laboratory in Pittsburgh to validate my concepts and found that they were correct.”
-Jonas Salk

Today, the discovery that Salk made in that Italian monastery has impacted millions. Polio has been eradicated from nearly every nation in the world. In 2012, just 223 cases were reported globally.

Did inspiration just happen to strike Salk while he was at the monastery? Or was he right in assuming that the environment impacted his thinking?

And perhaps more importantly, what does science say about the connection between our environment and our thoughts and actions? And how can we use this information to live better lives?

The Link Between Brains and Buildings

Researchers have discovered a variety of ways that the buildings we live, work, and play in drive our behavior and our actions. The way we react and respond is often tied to the environment that we find ourselves in.

For example, it has long been known that schools with more natural light provide a better learning environment for students and test scores often go up as a result. (Natural light and natural air are known to stimulate productivity in the workplace as well.)

Additionally, buildings with natural elements built into them help reduce stress and calm us down (think of trees inside a mall or a garden in a lobby). Spaces with high ceilings and large rooms promote more expansive and creative thinking.

So what does this link between design and behavior mean for you and me?

Change Your Environment, Change Your Behavior

Researchers have shown that any habit you have — good or bad — is often associated with some type of trigger or cue. Recent studies (like this one) have shown that these cues often come from your environment.

This is important because most of us live in the same home, go to the same office, and eat in the same rooms day after day. And that means you are constantly surrounded by the same environmental triggers and cues.

If your behavior is often shaped by your environment and you keep working, playing, and living in the same environment, then it’s no wonder that it can be difficult to build new habits. (The research supports this. Studies show that it is easier to change your behavior and build new habits when you change your environment.)

If you’re struggling to think creatively, then going to a wide open space or moving to a room with more natural light and fresh air might help you solve the problem. (Like it seemingly did for Jonas Salk.)

Meanwhile, if you need to focus and complete a task, research shows that it’s more beneficial to work in a smaller, more confined room with a lower ceiling (without making yourself feel claustrophobic, of course).

And perhaps most important, simply moving to a new physical space — whether it’s a different room or halfway around the world — will change the cues that you encounter and thus your thoughts and behaviors.

Quite literally, a new environment leads to new ideas.

Putting This Into Practice

In the future, I hope that architects and designers will use the connection between design and behavior to build hospitals where patients heal faster, schools where children learn better, and homes where people live happier.

That said, you can start making changes right now. You don’t have to be a victim of your environment. You can also be the architect of it. Here’s my simple 2-step prescription for altering your environment so that you can stick with good habits and break bad habits:

  1. To stick with a good habit, reduce the number of steps required to perform the behavior.
  2. To break a bad habit, increase the number of steps required to perform the behavior.

Here are some examples…

  • Want to watch less TV? Unplug it and put it in a closet. If you really want to watch a show, then you can take it out and plug it back in.
  • Want to drink more water? Fill up a few water bottles and place them around the house so that a healthy drink is always close by.
  • Want to start a business? Join a co-working space where you’re surrounded by dozens of other business owners.

These are just a few examples, but the point is that shifting your behavior is much easier when you shift to the right environment. Stanford professor BJ Fogg refers to this approach as “designing for laziness.” In other words, change your environment so that your default or “lazy” decision is a better one.

By designing your environment to encourage the good behaviors and prevent the bad behaviors, you make it far more likely that you’ll stick to long-term change. Your actions today are often a response the environmental cues that surround you. If you want to change your behavior, then you have to change those cues.

SEE ALSO: 4 Tips To Help You Make The Best Decision Every Time

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Washington Square Park Has Never Looked Better

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New York University NYU Washington Square Park East Village

One of the most pleasant surprises of this young spring season is the recently unveiled revision of the southwest quadrant of Washington Square Park. After five years of staggered renovations, a largely new and re-imagined park finally stands revealed.

The 1970s grittiness, some would say the sleaze, has departed and in its place is one of the finest small parks in the city, 10 acres of congenial and harmonious public space. Complaints have been raised about creeping gentrification and the police presence in the area. But based on what I saw there last weekend, it doesn’t appear that the storied bohemian vitality of the Greenwich Village landmark has been in any way diminished.

Granted, I could do without the snow fences that seem, each year, to close off the lawns the moment the weather improves enough for people actually to consider sitting on them. But on the whole, the renovations to the park have been a signal success, especially when it is approached from the corner of West 4th Street and Washington Square South. The chess hustlers are still there and the mounds — those controversial mounds that the locals fought so hard to preserve — are there as well, converted into a lovely lawn integrated with a playground that was getting a great deal of business the last time I passed.

One of the best parts of the renovation is a one-story structure, with a parabolic footprint, that interacts masterfully with its newly landscaped surroundings and that replaces a series of sheds that once occupied that area. This building will contain “comfort stations” as well as sundry rooms for the park’s staff. According to one official cited here,there are some discussions about the NYPD’s occupying it as well, though there does not seem to be any truth to the rumors that it will contain holding cells.

If it does, it will surely be one of the most charming jails in Manhattan. A surprisingly sensitive use of modern architecture, with just a touch of contextualism, this new structure is confected of slate bays and paired pillars, mullioned windows and a wooden roof that greatly aids in the building’s integration into the park context. And the landscaping of the paths that skirt the building’s entrances is downright distinguished.

Washington Square Park has never looked better.

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What Brazil's Brand-New Soccer Stadiums Look Like 50 Days Before The World Cup

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2014 brazil world cup stadiums 6

With 50 days to go before the first game of the World Cup, Brazil is rushing to finish the last of its brand-new stadiums.

The Arena Corinthians in Sao Paulo is the most worrisome venue. Construction was delayed after a worker died last month, and there's still a significant amount of work to be done before it hosts the opening game on June 12.

Three other stadiums — in Porto Alegre, Curitiba, and Cuiaba — also have FIFA, the international soccer governing body, worried.

It's not all bad, though. Eight of the 12 World Cup stadiums are ready to go, and many of them are stunning.

These photos of the 12 host venues reflect the complexity of the Brazil World Cup. The venues are striking and surrounded by natural beauty. But they're also sometimes half-built, sometimes tucked between slums, and sometimes needlessly expensive.

Let's start with the good news: The Maracana in Rio de Janeiro is finished.



The historic stadium once held nearly 200,000 people. After a renovation, the capacity is now 78,000.



The Maracana is in the thick of Rio, right down the road from the Mangueira slum.



See the rest of the story at Business Insider

11 Of The Most Beautiful Office Buildings On Earth

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Turninn Reykjavík, Iceland

Office buildings are places for getting work done. 

But as the winners of the Architizer A+ awards show, office buildings can also be quirky, artistic, and truly beautiful. As idiosyncratic as the cities they stand in, these buildings inspire awe.

Whether through a bamboo-filled atrium at the entrance, wind turbines that help a skyscraper generate its own energy, or a mirrored facade that reflects a Nordic bay, these buildings expand our sense of what "office building" even means. 

These are our favorite office exteriors from the second annual A+ Awards

The headquarters of Arctia Shipping floats besides the ships of Helsinki, Finland.



The Federal Center South Building 1202 in Seattle is a super-sustainable home for the U.S. Army Corps of Engineers.



The 72 Screens building in Jaipur, India, is built to handle the city's extreme heat.



See the rest of the story at Business Insider

The 11 Most Impressive New Green Buildings In The US

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The American Institute of Architects has released its 18th annual list of the best new examples of sustainable architecture, and this year's winners include a treehouse in West Virginia and the California headquarters of the Packard Foundation.

According to the AIA, the winning projects "showcase excellence in ecological design principles and reduced energy consumption."

U.S. Land Port of Entry; Warroad, MN: The building is constructed of sustainably harvested cedar, and sustainable features include a ground source heat pump system, rainwater collection, and extensive use of recycled materials.

U.S. Land Port of Entry; Warroad, Minnesota
Snow Kreilich Architects, Inc.

 



Sustainability Treehouse; Glen Jean, WV: Located in the Summit Bechtel Reserve, the building allows visitors to experience the forest from multiple points. Innovative solar, wind, and water-cleansing systems combine to yield a net-zero energy and net-zero water facility.

Sustainability Treehouse; Glen Jean, West Virginia
Design Architect: Mithun; Executive Architect/Architect of Record: BNIM




Bushwick Inlet Park; Brooklyn, NY: Part of the transformation of the Greenpoint–Williamsburg waterfront from a decaying industrial strip to a public park, this project houses meeting rooms, classrooms, and maintenance facilities. The facility becomes a green hill one one side, making it 100% usable to the public.

Bushwick Inlet Park; Brooklyn, New York
Kiss + Cathcart, Architects




See the rest of the story at Business Insider

9 Of The Most Amazing Office Spaces On The Planet

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BBC office

The places we work shape the work we do. Research shows that natural light leads to higher test scores in schools, plants reduce stress in the office, and spaces with high ceilings tend to promote creative thinking. 

Culled from Architizer's second annual A+ Awards, which are chosen by 300 experts and a popular vote, these are a handful of the most amazing office spaces in the world.

They are spaces we'd love to work in — warehouses transformed into airy workrooms, newsrooms of the future, and offices that double as laboratories. 

The BBC Broadcasting House in London brings together nearly 6,000 of the British broadcaster's employees.



The Autodesk headquarters in San Francisco is equal parts office, laboratory, and workshop.



The office of shipping company Drukta and mailing company Formail in Kortrijk, Belgium, epitomizes northern European cool — shipping containers are turned into sleek workspaces.



See the rest of the story at Business Insider

ARCHITECTURAL PLAGIARISM? Here’s How A Judge Ruled On Two Uncannily Similar Skyscrapers

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Sieger Suarez & Arquitectonica

When an eminent jurist asks, “What does a  of an architectural work truly protect?” you may be certain the question is not rhetorical. The U.S.  Act does provide protection from infringement for architectural works, but it does so in terms so ambiguous that a judge might wonder, as did federal district court judge James Lawrence King in a case he decided earlier this year, whether broadly applicable standards for determining infringement even exist. Finding “the usual analysis … too vague and the language misleading,” King blazed a trail of his own in Sieger Suarez Architectural Partnership v. Arquitectonica International Inc., 2014 U.S. Dist. LEXIS 19140, proposing detailed guideposts for future courts to follow.

Sieger Suarez involved two Miami architectural firms and a 43-story condominium tower nearing completion in suburban Sunny Isles. The Sieger Suarez firm was engaged in 2000 by the project’s first owner. When the project, now known as Regalia, changed hands, the new owners dropped Sieger Suarez and engaged Arquitectonica in 2006. This is a scenario made familiar in scores of disputes involving allegations of infringement of architectural works.

Befitting a beachfront property with floor-through units starting at $7 million,  both designs present dramatic, undulating exteriors. “When facing any of the buildings’ four sides,” King wrote in his opinion, “the façades create the impression of a wave rippling horizontally across the sides of the buildings.” Further, in cross-section, both buildings reveal what King described as a “flower shape,” “a stylized rectangle, with gently rounded corners and an outward bulge more-or-less in the center of each of the four sides.” Should this flower shape, combined with the wavelike exteriors, have been enough to sustain Sieger Suarez’s claim of infringement against its competitor and the property’s owners?

Read on to see the results of this Court Case, and what they could mean for architectural copyright in general.

The Law

Understanding cases of this sort requires an appreciation of two copyright principles: the distinction between ideas and the expression of ideas, on the one hand, and the nature and scope of protectable compilations, on the other.

Copyright protects the expression of ideas but not ideas themselves: books but not words or literary conventions (“boy meets girl”), music but not notes or styles, software but not commonplace routines, and architecture but not floors and ceilings, doors and windows, walls and halls.

Copyright also protects compilations, that is, aggregations of protectable expression and unprotectable ideas, selected, coordinated and arranged in ways that the result is original even if its constituent parts are not. Think databases. Architectural works are often analogized to compilations, combinations of elements that might not be copyrightable taken in isolation (walls and halls) but achieve a measure of expressive distinctiveness through their inventive combinations.

There is no uniformity among federal appeals courts on how to determine the scope of protection for architectural works. District courts are required to conform with precedent established by the controlling court of appeals, in King’s case the Court of Appeals for the Eleventh Circuit headquartered in Atlanta. Lower court judges, such as King, may construe that precedent in innovative ways subject to review by the applicable higher court.

These principles are the building blocks with which cases involving architectural works, such as Sieger Suarez, are built. These are the elements that Judge King used to fashion his noteworthy opinion.

The Facts

In January 2006, shortly before being terminated, the firm submitted applications to register its 2003 technical drawings for registration in the Copyright Office. Four months later, possibly in an effort to collect unpaid fees on the Regalia project, it sent its plans and AutoCAD to the project owner. Two months later, on July 20, 2006, in connection with another matter ,Arquitectonica’s attorney sent his client’s plans for Regalia to Sieger Suarez.  Five days after that Sieger Suarez submitted applications to register copyrights in additional documents of service it had prepared for the project six years earlier.

This confusing chronology notwithstanding, it seems plain the Arquitectonica had access to Sieger Suarez’s plans and could have copied them, and Sieger Suarez had notice of Arquitectonica’s allegedly infringing drawings and could have filed suit based on its registered copyrights. It did not sue, however, for seven more years, until construction of Regalia was under way.

Sieger Suarez & Arquitectonica

Determining Infringement

To prevail on a claim of copyright infringement, the plaintiff must show that it owns a valid copyright in a work and the defendant copied protectable elements of the registered work. As here, where there is no direct proof of copying, no smoking guns or homemade videos, a plaintiff may establish copying by demonstrating that the defendant had access to the plaintiff’s work, which was undisputed, and that the plaintiff’s and defendant’s works are substantially similar. King’s job? Determine the presence or absence of substantial similarity between the parties’ designs. Spoiler alert: he found none.

In the course of deciding the issue, King confronted the undulating, wavelike legal uncertainty that caused him to ask what copyright in an architectural works truly protects. If, as the law recites, an architectural work includes “the overall form as well as the arrangement and composition of spaces and elements in the design” but excludes “individual standard features”; if that overall form is a compilation of protectable expressions and unprotectable ideas; if compilations are, as some courts have concluded, eligible for only “thin” protection”—“baby” protection, King called it—what can be compared in order to determine infringement?

Usually, substantial similarity is established through the eyes of that convenient legal fiction: the average lay observer. King refused to go along. “In practice,” he wrote,

[T]he “average observer” referred to by the cases is not average at all. The law in this area … is complex and the distinction between expression and idea can be a difficult one. As such, an “average” observer is one who is fully aware of the law, trained to understand the elements of infringement and protectable features, with knowledge of architectural designs, and with experience to decide the facts of a given case. Such a person is neither average nor ordinary.

Following precedent, he insisted, “As the Eleventh Circuit has noted, ‘The substantial similarity required for infringement . . . must be substantial similarity of expression, not substantial similarity of ideas.’”  And expression, remember, may include entire compilations.  King then enunciated his way, a new way, of determining where to look for similarities.

Rather than simply continue down the oft-misleading road of ad hoc analysis, [this] Court will consider certain telling factors of substantial similarity and suggests that this non-exclusive and non-exhaustive list of guideposts should be used by future courts as guideposts for determining the level of similarity between architectural works….

King’s guideposts are four in number: (1) the manner by which a design is achieved; (2) use of ornamental structures and details; (3) how an individual interacts with the space; and (4) location.

Substantial Similarity Analysis: Exteriors

Turning first to the façades of the Sieger-Suarez and Arquitectonica designs, and specifically to the wavelike illusion, King noted that the defendant’s design is achieved by the addition of wrap-around, irregularly-shaped balconies to an otherwise rectangular-shaped building. These irregularly-shaped balconies combine, floor-by-floor, to create the impression of an oscillating wave running the entire height of the building. Starting from the first balconied floor, Defendant’s oscillating wave is achieved by shifting the center bulge of each successive floor’s balcony just slightly to the side of the balcony beneath it. These staggered balconies and the changing placement of the center bulges results in a dynamic wave across the façade of Defendant’s building.

Plaintiff, on the other hand, achieves the outward appearance in a strikingly different manner. Plaintiff’s design is created by the addition of rounded corner balconies to an otherwise irregularly-shaped building with sharply rounded corners and an outward bulge at the center of each of its four sides. Thus, the flower shape of the building is created by structural elements and bay windows that are integral to the design’s floor plans, to which rounded corner balconies are added to complete the flower shape. The bulging bay windows and rounded corner balconies appear in the same place on every floor and combine to create a smooth, static wave that runs the height of the building.

While other judges, sitting in other courts, might look at the parties’ respective designs and attempt an aesthetic resolution to the similarity comparison, King boldly looked past the similarities apparent on the surface and asked what lies underneath, what structural imperatives brought each designer to its expression of the flower shape as it rose from ground to sky.

Despite the fact that both buildings in cross-section adhere, more or less, to the flower shape, that shape results from entirely different structural approaches, irregularly shaped floors stacked one above another in the Sieger Suarez design and an essentially rectangular tower with wrap-around terraces, each slightly different from the terraces above and below in the Arquitectonica design. In other words, though the idea, a flower shape, was superficially similar, the expression of the idea was radically different and hence not substantially similar at all. Or in King’s words, “non-structural ornamental exterior terraces versus bay windows that are both structural and integral to the interior floor plan, is a critical distinction.” King characterized the resulting shape of the Arquitectonica design “dynamic”; the shape of the Sieger-Suarez design, “static.”

To find substantial similarity between the two designs in this case would require a finding that Plaintiff owns a copyright in a concept, i.e. this flower shape, something the Eleventh Circuit has consistently rejected. The shape is an idea while the building and terraces combine to create a protectable expression. Defendant’s expression of the flower shape is plainly different and does not infringe upon Plaintiff’s expression.

Substantial Similarity Analysis: Interiors

King undertook a similar analysis of the interior floor plans of the competing designs. Sieger Suarez’s expression of the flower design, with bulging sides and rounded bay windows at each corner results in living spaces with few straight lines. Defendant’s use of a rectangular tower—its irregularly shaped terraces notwithstanding—results in rectangular rooms. Not only do the shape and size of the parties’ rooms differ, the ways in which inhabitants are intended to occupy, furnish and make use of those rooms differs as well.

King made additional comparisons, but no superficial similarities were sufficient to overcome the conclusion that the buildings showed no substantial similarity.

King’s Guideposts in Practice

While King did not give equal weight to each of his “guideposts,” the brilliance of his approach is in providing a technique to replace the ad hoc decision making that typically characterizes decisions in this context. It’s a bit like watching Julia Child on television back in the day. What mattered most was not the dish itself but how she taught the viewer the technique.

Final Irony

Given copyright’s three-year statute of limitations, Sieger Suarez would have had to have filed suit no later than July 20, 2009, unless it could show damages accruing with respect to continuing cognizable causes of action.  Sieger Suarez pled no such causes of action, and King accordingly ruled plaintiff’s claims exhausted.

Mitch Tuchman practices copyright law in the Research Triangle Park, North Carolina, office of Womble Carlyle Sandridge & Rice, LLP.

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20 Beautiful Offices That Architects Chose For Themselves

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ArchDaily has once again asked readers to share photos of their workspaces. Readers, mostly architects, responded with pictures of beautiful spaces around the world, from beachside desks to a stark warehouse space to a stunning gallery.

This is how architects design or develop their own space:

Bark Architects, Noosa, Australia

a

Aparicio Arquitectos, Madrid, Spain

3

Equipoeme Estudio, Galicia, Spain

34

Atelier rzlbd, Toronto, Canada

r

Mackay-Lyons Sweetapple Architects, Halifax, Canada

h

Wilkes Barre, Various cities

55

 

Red Door Architecture, Brisbane, Australia

g

WRNS Studio, San Francisco

d

NADAAA, Boston

s

Bennetts Associates, London

d

ALA Architects, Helsinki, Finland

d

JAMstudio Architects, Aberdeen, Scotland

f

Design International, London

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Forrec Designs, Toronto, Canada

Bld

FitzGerald Associates Architects, Chicago

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Rossetti Design, Detroit

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Zeroplus Architects, Seattle, Washington

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Barber McMurry, Knoxville, Tennessee

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Baltic Creative Campus, Liverpool, England

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Glancy Nicholls Architects, Birmingham, United Kingdom

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SEE ALSO: The Most Impressive New Houses Of 2014

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6 Futuristic Construction Materials That Will Change The Way We Build Stuff

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Scientists are constantly on the look out for lighter, stronger, and more energy-efficient materials. Here's a glance at some materials that will change the way we build things in the future.

Graphene is extremely thin and strong.

What it is: Graphene is a substance made of pure carbon. The carbon is arranged in a honeycomb pattern in a one-atom thick sheet. Another way to think of graphene: Each time we write with a graphite pencil, we are basically making layers of graphene.

How it's transformative: Graphene has been called a "miracle material" because it's thin, strong, flexible, conducts electricity, and its nearly transparent. Its potential applications are practically limitless. Graphene researchers won the Nobel Prize in Physics in 2010 for developing the wonder-material and now you can even make it in your kitchen.

Suggested uses: Solar cells, touchscreens, liquid crystal displays, desalination technology, aerospace materials, more efficient transistors, chemical sensors that can detect explosives

graphene

A super water-proof material makes drops bounce.

What it is:A surface textured with extremely tiny cones repels water droplets. The super-hydrophobic surface, created by a team at Brookhaven Laboratory in New York, is unlike other water-resistant materials because it can stand up to conditions of extreme temperature, pressure, and humidity.

How it's transformative: These surfaces not only don't get wet, but would stay cleaner since the water droplets carry dirt with them as they roll off (this mimics the self-cleaning properties of nature). The material would be useful for preventing ice or algae build-up or even as an antibacterial coating.

Suggested uses: Coating boat hulls, car parts, and medical devices, car and plane windshields, steam turbine power generators

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Aerographite is 75 times lighter than styrofoam.

What it is:Aerographite, created by researchers at the Hamburg University of Technology in 2012, is made from networks of hollow carbon tubes. It's black in color (because it absorbs light rays almost completely), stable at room temperature, and is able to conduct electricity. The material is really strong, but also bendable.

How it's transformative: The material can be compressed into a space 95% its normal area and then pulled back to its original form without being damaged. The stress makes the material even stronger. This is unique since most lightweight materials can be compressed, but can't withstand tension. The material can also withstand a lot of vibration, which means it can be used for airplanes and satellites.

Suggested uses: Lighter batteries for electric cars and bikes, more efficient water and air purification systems, aviation, and satellites.

Aerographite

An ultra-thin material provides protection against high-speed objects.

What it is:A super-thin material created by researchers at Rice University and MIT can stop a fast-moving projectile, such as a bullet, in its path. The material, made from alternating rubber and glassy layers that are each just 20 nanometers thick, is good at dispersing energy. After being pelted with tiny glass beads, the complex polyurethane material not only stopped the bullets, it also sealed them inside, making it appear as if no damage had been done.

How it's transformative: When struck, the material melts into liquid to absorb the energy and then quickly hardens to close the entryway. “There’s no macroscopic damage," project researcher Ned Thomas explained in a statement. "You can still see through it. This would be a great ballistic windshield material."

Suggested uses: Protection for satellites against meteors and other space debris, stronger jet turbine-blades, and stronger, lighter armor for soldiers and police

Bullet-proof material

Live bacteria is used to make self-healing concrete.

What it is: Concrete is a popular building material, but it's vulnerable to cracks. Water and chloride from icing salt can seep into pre-existing fissures and make them larger. Overtime, this can become a dangerous (and expensive) problem. Self-healing concrete, developed by scientists at Delft University in the Netherlands, uses live bacteria — mixed into the concrete before it is poured — to seal up those fractures.

How it's transformative: When water gets into the cracks, the bacteria is activated and produces a component in limestone called calcite that fills up the crack completely. Researchers are still conducting outdoor tests to see if the concrete can be put to real use.

Suggested uses: Sidewalks, building foundations, other architectural structures

Self-healing concrete

A bone-like material that's lighter than water, but stronger than some types of steel.

Jens Bauer at the Karlsruhe Institute of Technology recently developed a honeycomb- structured material that is less dense than water, but as strong as some forms of steel.

"The novel lightweight construction materials resemble the framework structure of a half-timbered house with horizontal, vertical, and diagonal struts," lead researcher Jens Bauer, said in a statement.

The researchers samples "contained 45 percent to more than 90 percent air, making them extremely lightweight while also withstanding more than 46,000 pounds per square inch of pressure," according to Txchnologist.

How it's transformative: Even though objects made from this material can only be manufactured in the micrometer-range right now, this is the first time scientists were able to produce a material that exceeds "the strength-to-weight ratio of all engineering materials, with a density below 1,000 kg/m3," the authors wrote in a paper.

Suggested uses: Insulation, shock absorbers, filters in the chemical industry

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SEE ALSO: Lockheed Martin Says This Desalination Technology Is An Industry Game-Changer

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A Skyscraper-Sized Solar-Wind Tower Could Become North America's Tallest Structure

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The city council of San Luis, Arizona, a town of 15,000 on the Mexico border, last week approved the construction of the tallest structure in North America, a 2,250-foot-high concrete tower that would generate electricity by spraying water on hot desert air at the tower’s top.

As the saturated air sinks, the downdraft creates 50 mile-an-hour winds that are forced into tunnels at the base of the tower to drive electricity-generating turbines.

“Our tower makes roughly about half the power of a traditional nuclear power plant,” Ronald Pickett, the chief executive of Solar Wind Energy Tower (SWET), the company behind the $1.5 billion project, told investors during a March conference call. “Enough to power a city of 700,000 to a million people.”

And the price of that carbon-free power would be cheaper than coal-fired electricity, he claimed. 

Déjà vu.

Nearly eight years ago, I traveled to Australia to report on another quixotic scheme to build a giant tower in the middle of nowhere to produce renewable energy. Like Pickett, Roger Davey was a 60-something entrepreneur running a penny stock company. (SWET’s stock was trading at 2 cents a share this morning.)

Davey’s EnviroMission had grand plans to build a 1,600-foot tower in the Australian outback that would create an updraft rather than a downdraft to generate electricity.

water tower

As I wrote in Business 2.0 magazine:

Rattling down a red dirt road on the edge of the Australian outback, Roger Davey hits the brakes and hops out of a rented Corolla. With a sweep of his arm, he surveys his domain - 24,000 acres of emptiness stretching toward the horizon, the landscape bare but for clumps of scrubby eucalyptus trees and an occasional sheep.

It's a dead-calm antipodean winter's day, the silence of this vast ranch called Tapio Station broken only by the cry of a currawong bird. Davey, chief executive of Melbourne renewable-energy company EnviroMission, aims to break ground here early next year on the world's first commercial "solar tower" power station.

"The tower will be over there," Davey says, pointing to a spot a mile distant where a 1,600-foot structure will rise from the ocher-colored earth. Picture a 260-foot-diameter cylinder taller than the Sears Tower encircled by a two-mile-diameter transparent canopy at ground level.

About 8 feet tall at the perimeter, where Davey has his feet planted, the solar collector will gradually slope up to a height of 50 to 60 feet at the tower's base. If Stanley Kubrick had put a power station in 2001: A Space Odyssey, it would've looked like this. Acting as a giant greenhouse, the solar collector will superheat radiation from the sun. Hot air rises, naturally, and the tower will operate as a giant vacuum. As the air is sucked into the tower, it will produce wind to power an array of turbine generators clustered around the structure.

The project never got off the ground after EnviroMission failed to obtain government funding and Davey set his sites on—you guessed it—Arizona. In 2010, the company secured an agreement with a Southern California utility to sell electricity from a pair of 2,400-foot towers, just 322 feet shy of the world’s tallest building. Although the technology was proved on a small scale in Spain in the 1980s, EnviroMission could not attract financing and lost the utility contract.

SWET faces even more hurdles. The company has lost $8.9 million over the past three years, according to a Securities and Exchange filing. “Our independent auditors have expressed substantial doubt about our ability to continue as a going concern, which may hinder our ability to obtain future financing,” SWET stated in the March report.

The company did not respond to an email request for information about its technology and financing. 

SWET’s tower technology apparently has not been proved at any scale, though on the investor call Pickett said, “It’s not a mystery. It’s a known science.”

He dodged a question about how much water a tower will consume but said a supply has been secured for the Arizona project. Building towers in the Middle East and other desert regions will require diverting some electricity production to desalinate seawater, he said.

The company will not actually build the towers, according to Pickett, but will collect fees for licensing the technology to developers as well as royalties based on a project’s electricity production. He said SWET expected to collect an initial $18 million licensing fee as well as $8 million to $12 million in annual royalties for each project. He said developers in Chile, India and the Middle East have expressed interest in the technology. 

SEE ALSO: The China Story You Should Pay Attention To, And The One You Should Ignore

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Italy Has An Insane Number Of Architects

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italy architects

Yesterday, Monditalia — one of the three exhibitions currently being prepared for this year’s Venice Architecture Biennale tweeted out a neat little graphic showing the number of architects, per inhabitant, in 36 countries around the world.

The graphic shows that has a shockingly high percentage of architects in its population: for every 414 Italians, one is an architect.

According to the graphic, Portugal, Denmark, Germany, Belgium, Spain, and Greece all have ratios of less than 1,000 to one. Of course, there are plenty of other architect-heavy places missing from the list; not even mentioned in the graphic is Chile, a country that — according to its latest census—has one architect per 667 inhabitants, nor Mexico which has about 724 inhabitants per architect. On the other end of the spectrum, China has only one architect for every 40,000 persons.

Of course, since Monditalia has only released a sneak peek of this graphic via twitpic (more information will undoubtedly be shared when the Biennale launches in early June), we have some serious questions about the data (where do these statistics come from? Are they accurate?). But the graphic still raises some interesting lines of questioning.

In the light of the Recession, we’ve tackled the topic of markets over-saturated with architects quite a lot, as well as the great migration of architects happening around the world. We’ve even asked you readers to give us insight into which countries are the best for architects to find work (compiling the answers in a list you can find here).

However, this graphic allows us to frame the question in a slightly different way: is there a “golden ratio” of architects to inhabitants? And, if there is, what is it? 1:3000, as in the Czech Republic? 1:40,000 as in China? How many architects is enough? Moreover, should the ratio shift according to economic growth or decline? Should we attempt to control the number of architecture students in order to enforce this “golden ratio”?

We’d love hear what you think about the number of architects in your country in the comments below.

SEE ALSO: 20 Beautiful Offices That Architects Chose For Themselves

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The Steel Age Is Over — Here's What The Next Age Will Look Like

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Andrew Carnegie once said, "Aim for the highest." He followed his own advice. The powerful 19th century steel magnate had the foresight to build a bridge spanning the Mississippi river, a total of 6442 feet.

eads bridgeIn 1874, the primary structural material was iron — steel was the new kid on the block. People were wary of steel, scared of it, even. It was an unproven alloy.

Nevertheless, after the completion of Eads Bridge in St. Louis, Andrew Carnegie generated a publicity stunt to prove steel was in fact a viable building material. A popular superstition of the day stated that an elephant would not cross an unstable bridge. On opening day, a confident Carnegie, the people of St. Louis and a four-ton elephant proceeded to cross the bridge. 

The elephant was met on the other side with pompous fanfare. What ensued was the greatest vertical building boom in American history, with Chicago and New York pioneering the cause. That's right people; you can thank an adrenaline-junkie elephant for changing American opinion on the safety of steel construction.

So if steel replaced iron  as iron replaced bronze and bronze, copper  what will replace steel? Carbon Fiber.

TESTAWEISER_CARBON_TOWER_EXT_2

You’ve probably heard of it. Carbon Fiber is that super high-tech woven nano-fiberused in professional bicycles and racecar bodies. It’s the ultimate material  five times stronger than steel, twice as stiff, weighingsignificantly less  this is the featherweight champion of .

TESTAWEISER_CARBON_TOWER_APPROACHUnfortunately, carbon fiber is still seen as novelty, and while it has been applied in small-scale building projects such as pavilions, the carbon fiber skyscraper idea hasn't yet hatched. Why not? People  including designers  are wary of carbon fiber, scared of it even. Engineers in the automotive and aerospace industries may utilize and push the material to extreme limits, but R&D in architecture is moving at a snail’s pace.

But why? Architects should be drooling over this stuff. The material properties of carbon fiber allow for architectural  never previously imaginable. When CADD software was originally released, it allowed architects to push steel to its threshold. This is the reverse. Carbon fiber drives the computer to its threshold.

Imagine SHoP Architects' recently completed Barclay's Center without the tons of resource and labor intensive rebar.
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And with the first carbon fiber 3d printer hitting the market this summer, it is not impossible to imagine a world where we print buildings stronger than steel.

Of course there are drawbacks to carbon fiber. In turn, the naysayers emerge. Yes, it is a brittle material, less likely to bend than its steel counterpart. Perhaps more significant, it's a material in infancy. The youth of carbon fiber makes it expensive. Whereas steel is less than a buck a pound, carbon fiber is ten dollars a pound to produce. This youth also means carbon fiber production is annoyingly slow.

TESTAWEISER_FACTORe_INTERIOR

However, carbon fiber's journey is mirroring the growing pains of steel. In fact, the lethargic, cost-intensive process of producing steel led Eads Bridge construction to come to a screeching halt. Causing one of the richest men in history to nearly go bankrupt.

But Carnegie didn't go bankrupt. He adapted a process designed by inventor/engineer Henry Bessemer to mass-produce steel. Bessemer's processes meant a steel beam that once took five hours, now took ten minutes  hello industrial revolution. With a revolutionary material and all of his eggs in one giant basket, Carnegie became, for a time, the richest man in the world.

At this very moment, carbon fiber needs the investors like Andrew Carnegie that steel had. Carbon fiber needs the inventors like Henry Bessemer that steel had. Sure, there are still a few kinks to work out, but when those discoveries are made, an architectural and industrial revolution will occur.

Carbon fiber has the ability to be mass-produced in a cheap and sustainable way; we just need to figure it out. Once we do, we can work on getting that elephant across the bridge.

SEE ALSO: Beautiful California House Rethinks Indoor To Outdoor Space

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Philip Johnson's Iconic Glass House Looks Awesome When Filled With Fog

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Celebrating the 65th anniversary of Philip Johnson‘s iconic Glass House, artist Fujiko Nakaya has created the building’s first ever site-specific art .

The , titled “Veil”, will shroud  in fog for 10 minutes every hour, creating a dialogue with Johnson’s design intentions by breaking the visual connection between inside and out, and covering the building’s sharp, clean lines with misty indeterminacy. At the same time it will make literal Johnson’s ideal of an architecture that vanishes.

Nakaya has created similar fog installations in locations around the world, including at theGuggenheim Museum in Bilbao, and was also a consultant for Diller + Scofidio’s 2002 Blur Building. She said “fog responds constantly to its own surroundings, revealing and concealing the features of the environment. Fog makes visible things become invisible and invisible things — like wind — become visible.”

The installation is part of a larger scheme to make the Glass House into a center for contemporary art and ideas, especially those which interact with the history and meaning of the site. “Veil” will be at the Glass House until November 30th.

Check it out:
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Construction Begins On Complex That Redefines Beijing's 'City Landscape'

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Beijing landscapeNatural lighting, intelligent building, and an innovative air purification system is expected to help MAD achieve LEED Gold certification upon completion in 2016.

Construction has commenced on MAD’s Chaoyang Park Plaza within one of ’s largest public parks and central business district. A continuation of Ma Yansong’s “Shan-Shui City” concept, which aims reintroduce nature into the urban realm, the mixed-use complex reinterprets natural formations illustrated in traditional Chinese paintings as contemporary “city landscapes.”

“Like the tall mountain cliffs and river landscapes of , a pair of asymmetrical towers creates a dramatic skyline in front of the park,” described MAD. “Ridges and valleys define the shape of the exterior glass facade, as if the natural forces of erosion wore down the tower into a few thin lines.”

Beijing landscape“Flowing down the facade, the lines emphasize the smoothness of the towers and its verticality. The internal ventilation and filtration system of the ridges draw a natural breeze indoors, which not only improves the interior space but also creates an energy efficient system.”

Beijing landscapeYansong attempt’s to integrate nature thoughout the design; Interiors are “injected” with landscape elements, such as towering courtyards and multi-level garden terraces, while “mid-air courtyards” connect the site’s two residential buildings and provide residents the “freedom to wander” through an elevated “mountain forest.” Even the shape of the complex’s four office towers were designed to resemble eroded “river stones.”

Beijing landscape“This project transforms the traditional model of buildings in a modern city’s central business district,” explains MAD. “By exploring the symbiotic relationship between modern urban architecture and natural environment, it revives the harmonious co-existence between urban life and nature. It creates a Shanshui city where people can share their individual emotions and a sense of belonging.”

SEE ALSO: The Steel Age Is Over — Here's What The Next Age Will Look Like

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This Is What Cornell's Futuristic NYC Tech Campus Will Look Like

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cornell tech campus

Cornell has unveiled its vision for the massive tech campus it plans to build on New York City's Roosevelt Island.

When the campus opens in 2017, it will provide a permanent home for an entirely new school called Cornell Tech that city officials hope will position New York as a major tech center. Cornell beat out top-notch schools like Columbia, Carnegie Mellon, and Stanford to create the new graduate school, which will be focused on classes in computer science.cornell tech campusA recent $133 million gift from Qualcomm founder Irwin Jacobs and his wife, Joan, created The Jacobs Institute, which will offer dual-degrees in the applied information-based sciences.

Eight degrees will eventually be offered, three of which will be dual master's degrees from Cornell and the Technion-Israel Institute of Technology. The three degrees will cover "connective media,""healthier life," and "built environment." 

The idea is that classes will position students to use technology to solve problems faced by various industries in New York City and the world. 

"Cornell Tech will bring a sharp increase in science and engineering teaching, attract students from around the world, and spin off new local companies and thousands of new jobs, and inject billions of dollars into our economy," Mayor Michael Bloomberg said in a press release announcing the funding. 

Roosevelt Island, a narrow strip of land between Manhattan and Queens, is an interesting choice for a tech hub. It's fairly isolated and difficult to access, and cars are only allowed on certain parts of the island. cornell tech campusIn addition to campus buildings, the project calls for the construction of new roads and 2.5 acres of open space. cornell tech campusThe buildings themselves will be pretty high-tech, too. The architects hope to achieve net-zero energy in the academic building by installing solar panels on its roof. They also plan to install a system of 400 geothermal wells that will heat and cool the campus. 

"Our hope is that this campus will become a place where people who are interested in using tech to make a difference in the world will find this to be a place that's a magnet for them," Cornell Tech Dean and Vice Provost Daniel Huttenlocher said in a video announcing the project. 

When completed, the two-million-square-foot complex will house approximately 2,000 full-time graduate students. The campus won't be completed until 2017, but until then, a group of 18 engineering students enrolled in the new program are working out of temporary classrooms in Google's Chelsea offices. In January, the school enrolled eight students in a beta class for a master's degree in computer science. 

SEE ALSO: LG's Plans For A New US Headquarters Are Causing A Lot Of Controversy In New Jersey

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The Best New Buildings In The Bay Area

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Moose Road Residence

The San Francisco chapter of the American Institute of Architects recently announced the winners of their annual Design Awards, which honor Bay Area-based architects and designers who made a significant achievement the previous year. 

Winners were chosen in five categories: architecture, interior architecture, energy and sustainability, historic preservation, and unbuilt design. While most of the buildings are located in San Francisco, a few are imagined by architects based in the City by the Bay, but located elsewhere. 

From a house floating on stilts to a new startup office space, there's plenty of eye-popping design to be seen. 

CITATION, ARCHITECTURE: This LEED-certified natatorium aims to be a force for positive social and environmental change in East Oakland.

"East Oakland Sports Center," ELS Architecture and Urban Design



CITATION, ARCHITECTURE: A renovated storefront on San Francisco's hip Valencia Street incorporates a perforated metal screen overhead.

"Blu Dot Furniture," Office of Charles F. Bloszies



MERIT, ARCHITECTURE: The stunning glass and stucco building at 300 Cornwall Street consists of six homes and corner retail space.

"300 Cornwall," Kennerly Architecture & Planning, Inc.



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Cartoons Take Over Paris In These Amazing Drawings

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536833d4c07a806b9b000033_artist fills paris negative space with whimsical illustrations_a7bb96_b89a4b3ad760ec21fa8416a5741fa674 jpg_srz_p_940_705_75_22When you're surrounded by buildings on all sides, what do you see? In his SkyArt series, French artist Lamadieu Thomas gives us his answer.

He takes claustrophobia-inducing photographs of urban landscapes through a fish-eye lens, framing the sky with rooftops and filling the negative space with playful 
.

Thomas describes his whimsical approach to art as an attempt to show "what we can construct with a boundless imagination" and "a different perception of urban architecture and the everyday environment around us."

See some of the collection:

536833e9c07a806b9b000035_artist fills paris negative space with whimsical illustrations_a7bb96_795070aab39f7ae203c4bbe1a14009fd jpg_srz_p_945_715_75_22536833d5c07a80b5c5000036_artist fills paris negative space with whimsical illustrations_a7bb96_ecb0a72caa8a1e4d7d7ccc643e7754d1 jpg_srz_p_940_700_75_22536833a6c07a80b5c5000031_artist fills paris negative space with whimsical illustrations_a7bb96_8bf5e724be7348b195706416b94d1fc2 jpg_srz_p_625_826_75_22536833c0c07a80b5c5000034_artist fills paris negative space with whimsical illustrations_a7bb96_19d2e0879d1606780ed6d44fd098c35f jpg_srz_p_515_775_75_22536833bac07a806b9b000030_artist fills paris negative space with whimsical illustrations_a7bb96_9f963b06da868f0be01d8ceed4b09b8e jpg_srz_p_515_775_75_22536833b5c07a806b9b00002f_artist fills paris negative space with whimsical illustrations_a7bb96_42c1364c5898c9fca6f92667524663e0 jpg_srz_p_1040_700_75_2536833b0c07a80b5c5000033_artist fills paris negative space with whimsical illustrations_a7bb96_45a22ab7970f304aaca7c458cefb386b jpg_srz_p_630_945_75_22536833cac07a80b5c5000035_artist fills paris negative space with whimsical illustrations_a7bb96_e4217eac5c30e2f5207041be574d2478 jpg_srz_p_935_625_75_22

See more SkyArt here.

SEE ALSO: Beautiful California House Rethinks Indoor To Outdoor Space

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There's A Design Flaw At A London Hotel That Lets Guests See Into Each Other's Room

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The Shard skyscraper

It might occupy the upper floors of one of Europe's tallest buildings, but it seems that some guests of the Shangri-La hotel at the Shard in London are getting more of a view than anticipated.

A quirk in the design of the hotel, which opened last week in the 310 metre-tall skyscraper, means that some guests are apparently able to glimpse into other rooms.

The views are the result of the way in which glass panels protruding from the building's corners act as mirrors once internal lights are switched on at night.

"In some rooms, due to the unique shape of the Shard, guests may be able to glimpse into a neighbour's room," Darren Gearing, the hotel general manager, was quoted by the Financial Times as saying.

"For this, blinds are available for guest privacy."

The design glitch has not been the only source of less-than-welcome publicity surrounding the London Bridge landmark, billed as "Europe's first vertical city", which has views stretching 40 miles and is visible to drivers driving on the M25.

Despite the stunning design by the Italian architect Renzo Piano and glamorous marketing, as recently as January it remained practically a shell almost a year after its opening.

Ten apartments, designed to pull in some of the richest people on the planet with price tags of £30m to £50m each, lie empty and are still for sale just as the so-called ultra-prime London property market seems to be slowing.

The hotel is the first Shangri-La in London and only the third in Europe – after Paris (2010) and Istanbul (2013). It had originally been expected to open in spring 2013 but the date was gradually put back.

This article originally appeared on guardian.co.uk

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