Japanese design firm Nikken Sekkei has just completed a new building in Dubai’s central financial district, encompassing the “World’s Longest Cantilever,” which floats 100m above ground. Compromising two towers connected by an enclosed horizontal bridge, “One Za’abeel” acts as a new point of entry into the city. Designed to be a symbol of Dubai’s growth and expansion, the project offers easy access to the downtown region. The scheme features restaurants, retail spaces, workspaces, and urban hotel accommodations.
Science Forest / ADAT Studio. Image Courtesy of ADAT Studio
In the contemporary context, museums face contradictory sets of ideas: becoming attractions on and of themselves but presenting an understated image that shifts the attention to the exhibits, creating a safe and protected environment for the artifacts, yet opening them up to the public, becoming repositories of history yet catalysts for innovation. Searching for the balance between all of these constraints has resulted in the flourishing of diverse types of museums and cultural institutions, from those dedicated to the remembrance of a single event or persona to temporary homes for cultural events or spaces that expand their cultural offering beyond exhibition areas.
This curated selection of Best Unbuilt Architecture highlights projects submitted by the ArchDaily community that demonstrate the fusion of art, technology, and innovation within the realm of museums and cultural centers. Among the featured designs are works from renowned architectural offices, including CAA architects, NextOffice – Alireza Taghaboni, and Fentress Architects, along with several emerging firms. Ranging from a sculptural art museum in Dubai to a local cultural and recreational complex in Senegal, or an immersive science museum in Rome, Italy, this diverse compilation strives to showcase the spectrum of scales and purposes of cultural institutions.
URB has released a study for “Dubai Cycle City 2040,” envisioning diverse cycling infrastructure in the Emirate. The initiative aims to revolutionize transportation in Dubai, allowing residents quick access to critical services and locations by cycling or walking. In a city where cars have reigned supreme as a transportation mode, plans are underway to transform urban mobility.
The biennale UN climate conference, COP28, concluded in Dubai this week with a commitment to the eventual “phasing out” of fossil fuels. It was a classic glass-half-empty/glass-half-full gesture. Yes, as optimists pointed out, it was the first time any reference to moving away from fossil fuels had made it into the text of the final communique. But, like previous COPs, this resolution, too, is nonbinding and was reached over howls of protest from both oil-producing countries and developing countries reliant on existing energy supply chains for future growth. The tortuous nature of the outcome, watered down and officially toothless, left me feeling glum. If we can’t agree on the nature of the problem, it will be exceptionally difficult to fix it.
To offer perspective, I reached out to longtime activist Bill McKibben. A professor at Middlebury College, he has published 20 books; his first, The End of Nature, appeared in 1989. He was, along with Dr. James Hansen, one of the first to sound the climate alarm. McKibbin is a contributing writer to the New Yorker, and a founder of Third Act, which organizes people over the age of 60 to work on climate and racial justice. In collaboration with seven Middlebury students, he founded 350.org, the first global grassroots climate campaign.
COP28, or the 2023 United Nations Conference of the Parties, was held in Dubai between November 30 and December 13. The annual meeting gathers representatives from 198 countries, as well as industry leaders to discuss and establish strategies to limit the extent of climate change and its adverse effects. The ultimate goal of these meetings is to find ways to limit the global temperature rise below 1.5 degrees Celsius compared to pre-industrial times. At the moment, the global temperature rise is already at 1.2 degrees Celsius. As the construction industry at large accounts for 39% of global emissions, architects and planners have a shared interest in the results of thee international summit, Read on to discover some of the key takeaways of COP28.
Ho Chi Minh City Innovation District / Sasaki. Image Courtesy of Sasaki
As technology and infrastructure rapidly evolve, a new buzzword finds itself in conversations across industries - innovation. The word is more relevant in light of future-facing challenges such as climate change, inequality, and economic crises. As a result of a surging interest in these concepts, innovation hubs have emerged across the world, aiming to foster creative and collaborative economies to spark quick change. What are innovation districts and how do they influence the built environment?
On November 30, 2023, the UN COP28 climate summit begins in Dubai, the United Arab Emirates. The name stands for the Conference of the Parties under the UNFCCC, and symbolizes the annual meeting of world governments for the purpose of establishing strategies to limit the extent of climate change and its adverse effects. Last year’s summit concluded with several important measures, including the promise of a global fund aimed at providing financial aid to developing countries affected by climate disasters.
The main purpose of COP is to reinforce the commitments of the Paris Agreement, signed in 2015, which strives to keep the global temperature rise under 1.5C degrees. As the construction industry accounts for 39% of global emissions, architecture plays an important role in helping to lower our carbon footprint, making COP28 a crucial event for architects.
“Self Similar,” a sprawling and immersive land artwork created by Jim Denevan has just debuted in Abu Dhabi,UAE as part of a more extensive city-wide exhibition. Curated by Reem Fadda, Director of Abu Dhabi Culture Programming and Cultural Foundation, along with Alia Zaal Lootah, this city-wide exhibition showcases 35 distinct site-specific artworks by both local and international artists. Scheduled to run until January 30, 2024, the exhibit is a diverse collection aiming to engage audiences.
Of Palm / Abdalla Almula. Image Courtesy of Abdalla Almula
Happening between November 7 and 12, Dubai Design Week 2023 brought together over 500 designers, architects, and creative practitioners to explore the relationship between traditional practices and emerging technologies in an effort to create more environmental sustainability and design-led social impact solutions. As one of the most important cultural events in the Middle East, the festival brings forward a wide offering of installations, artworks, and immersive experiences, all exploring important topics of eco-friendly design.
This year’s interventions and installations drew inspiration from the region’s natural ecosystems as well as local traditions and craftsmanship while merging these practices with innovative technologies, biomaterial explorations, and reimagined ways of practicing. Across the interventions, a recurring motif emerges, that of celebrating Middle Eastern heritage and engaging productively with vernacular practices.
Sharjah, the captivating territory in the United Arab Emirates, is a cultural hub that blends tradition with contemporary modernity. Situated on the Arabian coastline, the city is known for its commitment to preserving its rich history, promoting the arts and culture, and providing a platform for creative and intellectual pursuits. In fact, the 2023 Sharjah Architecture Triennial (SAT) will take place from November 11, 2023, to March 10, 2024, under the theme "The Beauty of Impermanence: An Architecture of Adaptability." The Triennial is curated by Tosin Oshinowo, exploring innovative design solutions emerging from conditions of scarcity in the Global South.
With a deep-rooted connection to its cultural heritage, the emirate is home to an array of museums that showcase a journey through multiple timelines, from Islamic civilization to traditional lifestyles. Now a hotspot for emerging designers, the city has taken a leading role as a patron of fine arts. In the contemporary city, attractions are designed by many architects, from Foster + Partners, Zaha Hadid Architects, 51-1 Arquitectos, to Hopkins Architects. In addition to this emerging cultural scene, old Sharjah is a valuable embodiment of historical tradition, having been transformed into useable attractions and art facilities. The old Sharjah also flaunts landmarks such as the modernist King Faisal Mosque, the Museum of Islamic Civilization, and the Sharjah Art Museum.
Last week in Cairo, CulturVator – Art D’Egypte launched its third edition of the annual international exhibition “Forever is Now.” Set by the backdrop of the Great Pyramids of Giza, the display features the work of 14 international artists. In essence, the exhibition “underscores the significance of cultural exchange among artists at the core of history and ancient Egyptian civilization.”
The third installment "Forever Is Now," running from October 26th to November 18th, presents a diverse ensemble of artists hailing from various corners of the globe. Among them are Egyptian artist Mohamed Banawy and Saudi Arabian talent Rashed Al Shashai, as well as American visual artist Carol A. Feuerman and Belgian creative Arne Quinze. Collectively, these artists have come together to creatively interact with one of the world's most iconic historical sites, crafting immersive visual narratives that seamlessly fuse contemporary elements with the past, weaving tales of the land and its inhabitants.
