The estimated cost of Apple’s Cupertino City headquarters has escalated from an already hefty price of $3 billion to $5 billion (more than $1,500 per square foot), reportedly pushing back the original completion date to 2016. According to Bloomberg, Apple is working with lead architect Foster & Partners to shave $1 billion from the “ballooning budget”. Most of the cost is seemly due to Steve Job’s “sky-high requirements for fit and finish”, as the tech legend called for the 2.8 million square foot, circular monolith to be clad 40-foot panes of German concave glass, along with its four-story office spaces be lined with museum-quality terrazzo floors and capped with polished concrete ceilings.

Although lambasted for his ambitious plans and “doughnut-shaped” design, Steve Jobs wanted to create a masterpiece that looked as good as it functioned, just like his products. During a 2011 presentation to the Cupertino City Council, Jobs stated, “This is not the cheapest way to build something... there is not a straight piece of glass in this building.” He continued, “We have a shot... at building the best office building in the world. I really do think that architecture students will come here to see it.”

More after the break...

Robert Venturi has joined nearly 4,000 advocates in the call to retrospectively acknowledge Denise Scott Brown as a joint Pritzker Prize laureate, stating: “Denise Scott Brown is my inspiring and equal partner.”

His support was then quickly followed by Rem Koolhaas, who stated: “I totally support this action. The fact that one of the most creative and productive partnerships we have ever seen in architecture was separated rather than celebrated by a prize has been an embarrassing injustice which it would be great to undo.”

More updates after the break...

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What do MIT’s Building 20, the Ancient Greek Agora, 18^th Century British teahouses, and early 20^th century Parisian cafés have in common?

They were some of the most creative spaces in the world.

People who gathered there would interact. People, such as Socrates or Chomsky or Edison, exchanged ideas, argued about morals, and discussed technologies. They participated in an informal discourse driven by passionate involvement.

And these places, although for different reasons, fostered interaction by bringing people together and giving them a place to talk. As Jonah Lehrer put it, “the most creative spaces are those which hurl us together. It is the human friction that makes the sparks.”

The question, then, is how can contemporary architecture foster the same kind of creativity?

To learn more about architecture and its role in creativity and learning, keep reading after the break.

In an effort to “unlock people’s imaginations” about Penn Station and Madison Square Garden, the Municipal Art Society (MAS) of New York has challenged Santiago Calatrava, Diller Scofidio + Renfro, SHoP Architects and SOM to propose four new visions that exemplify the potential of the highly disregarded area.

The challenge comes amidst a heated debate on whether or not the city should restrict Madison Square’s recently expired special permit to 10 years, rather than in perpetuity as the arena’s owners - the Dolan family - has requested. This would allow time for the city to “get it right” and come up with a viable solution for the arena and station that would not only “improve the safety and quality of life for millions of people but also benefit the economy”. Think Kings Cross in London. With a thoughtful mix of public and private investments, the crime-ridden transfor station was transformed into a thriving cultural destination.

More after the break...

Chicago is set to be the next U.S. city to park-ify on one of its abandoned rail-lines. First proposed back in 1997, the 2.7 mile, 13-acre Bloomingdale Trail and Park is proposed for a stretch of abandoned railway trestle dating from 1910, which has been lying unused since the turn of the century. And, even though it is already being compared to New-York's High Line, the planners are adamant that the park will be an entirely different animal to its New York cousin.

Read more about Chicago's unique proposal after the break...

Last week the UK's Culture Minister Ed Vaizey announced that he was commissioning a review of the country's architecture policy, to be led by Sir Terry Farrell along with a number of high profile advisors, including Thomas Heatherwick, Alison Brooks and Alain de Botton. According to Vaizey, the review, expected to be complete by the end of the year, "will be a rallying point for the profession."

In his article in The Guardian, Olly Wainwright rather hopefully questioned: "might this year-long study result in an innovative new piece of legislative guidance – perhaps along the lines of Denmark's architecture policy, introduced in 2007?" While Wainwright somewhat flatly concludes, "somehow, that seems unlikely," there's no doubt that the UK could only stand to gain from learning from Denmark's innovative policy.

So what lessons could the UK (and the world) learn from the Danes? Read on after the break...

Arguably the biggest buzzword in urbanism right now is the 'Smart City'. The idea, although certainly inclusive of eco-friendly practices, has even replaced “sustainability” as the major intent of cities planning for positive future development. Smart City thinking has been used successfully in countries as diverse as Brazil, the US, the UAE, South Korea, and Scotland (Glasgow just won a £24million grant to pioneer new schemes throughout the city).

But what exactly are Smart Cities? What benefit do they bring us? And, more importantly, how can we best implement them to secure our future?

The answer, in my opinion, lies in the hands of architects.

More on the potential of Smart Cities after the break...

An intense gender debate has been making headlines after Denise Scott Brown called for Pritzker to “salute the notion of joint creativity” and retrospectively acknowledge her role in Robert Venturi’s 1991 Pritzker Prize during an AJ Women in Architecture luncheon in late March. Since, nearly 2,000 advocates have passionately rallied in Brown’s support by signing an online petition created by Harvard’s GSD Woman in Design Group. Among the signatures include architects Zaha Hadid, Farshid Moussavi and Hani Rashid, along with MoMA senior curator of architecture and design Paola Antonelli, architecture photographer Iwan Baan, Rice School of Architecture dean Sarah Whiting, and Berkeley College of Environmental Design dean Jennifer Wolch.

Responding to the outrage, Martha Thorne, executive director of Pritzker Prize, promised to “refer this important matter to the current jury at their next meeting”, respectfully pointing out that this presents an “unusual situation” considering each Laureate is chosen annually by a panel of independent jurors who change over the years.

This article, which originally appeared on GreenBiz, is by Lance Hosey, the chief sustainability officer of the global design leader RTKL.

Sustainability leader Hunter Lovins once called the building industry "dynamically conservative — it works hard to stay in the same place."

But old habits cannot fully address new challenges. According to 350.org, fossil fuel corporations currently have in their reserves five times the amount of carbon that, if burned too quickly, may raise atmospheric temperatures to a catastrophic level where Hurricane Sandy-scale storms could become the norm. Quicker, deeper progress is imperative.

Architecture is an essential arena for sustainable innovation. Buildings represent about half the annual energy and emissions in the U.S. and three-quarters of its electricity. With the built environment growing — the U.S. building stock increases by about 3 billion square feet every year — architects have a historic opportunity to transform its impact for the better.

Keep reading to find out the 6 Steps architects can take to transform the profession, after the break...

“Originally seen to reflect the democratic attributes of a powerful civic expression - authenticity, honesty, directness, strength - the forceful nature of Brutalist aesthetics eventually came to signify precisely the opposite: hostility, coldness, inhumanity. [...] Separated from its original context and reduced in meaning, Brutalism became an all-too-easy pejorative, a term that suggests these buildings were designed with bad intentions.” - “BRUTAL”/“HEROIC” by Michael Kubo, Chris Grimley and Mark Pasnik

Brutalism, an architectural movement that peaked in the 1960's, inspired the development of countless governmental buildings in Washington DC as well as across the world. Though Brutalism's original intentions may have been good, many believe that the actual manifestation of these buildings was not and consider them to be little more than an eyesore on the District's landscape. One such concrete structure, the FBI's J. Hoover Building, is currently facing possible redevelopment as the government has decided to relocate FBI headquarters and given the private sector the rare opportunity to transform this so-called "monolith" into a new kind of monument.

More on the Hoover Building after the break...

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Architecture is quickly adopting the popular technology of robots. Although it is slightly hard to define what “robot” really means, for architecture, it tends to refer to anything from robot arms to CNC mills to 3D printers. Basically, they are programmable, mechanical, and automated instruments that assist in processes of digital fabrication.

So, what might robots mean for architecture? A more precise architecture which could contribute to a more sustainable building life cycle? More innovative design derived from algorithmic processes? A more efficient prefabrication process that could reduce the time and cost of construction?

Probably a mix of all three. But more importantly, what might robots mean for humans? Robotic replacement for the construction worker? Loss of local craftsmanship and construction knowledge? Maybe. But I might reformulate the question. Asking what robots mean for humans implies passivity.  

What I ask, then, is what can robots do for humans?

Peter Rice has been described as both one of the best engineers and architects of the twentieth century. Unhappy with the role that engineers play in designing buildings, Rice dedicated his life to championing brave innovation and poetry through structure in a way that helped bridge the gap between engineering and architecture. His desire to work in tandem with architects, towards a shared vision, made him one of the most in-demand engineers of the twentieth century.

Mayor Bloomberg's controversial plans to rezone midtown New York, allowing for bigger and bolder skyscrapers, has found an unlikely ally in the form of environmentalists.

Re-zoning midtown would ultimately lead to the demolition of the corporate steel and glass skyscrapers, which preservationists argue are emblematic of the cutting edge modernism that swept 1950's America. However, landlords contest that - for the most part - they are poorly built copycats of seminal landmarks such as the Seagram and Lever buildings and are not particularly significant or suited for modern needs.

More information after the break..

Zappos CEO Tony Hsieh has recently invested $350 million dollars of his own money into downtown Las Vegas, where the new Zappos' headquarters will soon call its home. Working in the vein of companies like Google and Apple, Hsieh and the head developer of the new campus, Zach Ware, have worked together on making a workspace environment in which creativity - and, consequently, inconvenience - is built into the design itself:

"'Our goal is not to create an office space that you take photos of and you say 'Wow, that's beautiful,'' says Ware. 'We're incredibly function-oriented.' Zappos' core focus is on company culture and the relationships between employees. To enhance that, as odd as it sounds, parts of the office are deliberately inconvenient."

Read Max Nisen's article on Zappos' "inconvenient," new headquarters after the break... 

Architecture begins with ideas—and, for Will Alsop, sometimes with a painting. This interview is the first in a series of conversations with internationally prominent architects conducted by Sanam Samanian and Alex Bozikovic. The British iconoclast gives an overview of his creative process: why he's bored by the details of building; why we shouldn't think of architecture as a “profession"; and why we should think of architecture as a way to make life more joyous.

Read the captivating interview with Will Alsop, after the break...

A few weeks back, we at ArchDaily conducted a poll on Facebook to get a feel for what our readers think about their architectural educations. The question we asked: "Do employers put a lot of weight on what university you attended, or is it mostly about your portfolio?" had some promising results. There is a lot of cynisicm ciruclating in the professional world about what a degree from a particular university means. There are circles were some universities or some degrees are valued over others. Really though, we hope that it comes down to what each candidate can bring to a potential employer.

Follow us after the break for more.

The Ponte Tower is a residential high-rise in Johannesburg, South Africa with a unique history and now a promising future. It was designed by architect Manfred Hermer in the 1970's to be one of the most desirable places to live in the city, with an iconic, hollowed out interior, three-story apartments and rooftop jacuzzis. Over time, however, the building fell into disrepair and instead of serving as an icon of extreme wealth and prosperity, it became an icon of poverty and indifference. In still racially-divided South Africa, this was marked by the moving out of whites and the moving in of a primarily black population as property values plummeted. It has been associated with high levels of crime, a lack of sanitariness and even suicides, thanks to the building's hollow core.

This article comes courtesy of Charlotte Neilson, the author of the fascinating design blog Casting Architecture. Her column, Through the Lens, will look at architecture and production design in TV and film.

The categorisation of period architecture generally remains firmly in the realm of the professional or amateur enthusiast - let’s face it, you can go through life without knowing the difference between a Corinthian and Ionic column without too much inconvenience. Oddly, however, most people are able to name a few of the main features of Art Deco architecture fairly easily - the curved corners, stylised forms, the use of bakelite and chrome, the transport motifs.

It’s interesting that this period is so much more familiar to us, considering it spanned quite a short timeframe compared to other architectural styles; the Arts and Crafts and Art Noveau movements, for example, which both occurred in a similar time frame to Art Deco, are much less known to the wider community.

It’s possible of course that Art Deco is just more omnipresent because of its universal appeal, or its uniqueness, but I think most of the credit should go to Monsieur Hercule Poirot.

Learn more about Agatha Christie’s contribution to Art Deco, after the break...