At the turn of the millennium, the world was gripped by the looming threat of the Y2K bug, a potential failure of computerized systems that could disrupt everything from banking to aviation. As midnight approached on December 31, 1999, people withdrew their savings, major corporations issued warnings, and governments scrambled to prevent public hysteria. But as the sun rose on January 1, 2000, the feared bug had no material impact, and the crisis faded as quickly as it had emerged. However, this era left its mark in unexpected places — particularly in architecture. Amid the anxiety surrounding digital technology, one of the most iconic concert halls of our time, Casa da Música in Porto, was born. Designed by OMA (Office for Metropolitan Architecture), its origins can be traced to a much smaller project: the Y2K House. What began as an exploration of private domesticity during the digital scare evolved into a grand public structure — an architectural transition from home to a performance hall.
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This Moscow Circus School Proposal is Composed of a Series of Domes and Undulating Waves
A team comprised of Chinese architects Hang Guo and Shanshan Li have used the history of theatre and circus to drive their proposal for a new Moscow Circus School. The design, dubbed Dome and Circus, was developed for the recent Architectural Competition Concours d'Architecture (AC-CA) competition, which encouraged participants to consider the ways in which their design could generate discussion about the relationship between architecture and culture.
https://www.archdaily.com/794089/this-moscow-circus-school-proposal-is-composed-of-a-series-of-domes-and-undulating-wavesLauren Crockett