This model of a self-assembling protein nanocage was designed by researchers at the University of Washington, Seattle; UCLA; and HHMI’s Janelia Farm. Such cage-shaped proteins could act as nanoscale containers; for example, drug-filled nanocages could deliver therapies directly to tumor cells.
Credit: Vikram Mulligan; Nature 2014, DOI: 10.1038/nature13404
BIG’s combined power plant and ski slope is “turning science fiction into fact” (dezeen)
Alvar Aalto, Three Exterior Views of the “Helsinki House of Culture”, (1958)
The House of Culture in Helsinki is Aalto in his ‘red brick period’. He achieves the free-form curves of the concert hall walls using wedge-shaped bricks, arranged variously with their shorter edge facing inside or outside the wall. The impact of the solid brick walls must be seen in the context of what had gone before. In Finland, the National-Romantics had used wood and granite to show closeness to Finnish nature, while the modern movement (as elsewhere) used more abstract white plaster surfaces (which did not wear well particularly in the Finnish climate). Aalto’s red brick was therefore a bigger statement than it now seems: a man-made material that keeps its individuality and local personality.
An attitude has arisen which says, “Before, there was crime and emptiness; now we’ve got galleries and coffee. You’re telling me you actually preferred crack dens?” This shuts down debate by asserting that art and cafés for incomers were the only viable antidotes to lawlessness and poverty, when in fact they merely shunt them elsewhere. It erroneously suggests that creative uses of urban spaces are an end point, and reveals the ugly undertone beneath much talk of neighborhood change: That these inner city areas are just too good to be squandered on the low-income people being displaced from them.
[Image: Wikimedia Commons/Graeme Maclean]
(vía BLDGBLOG: Buffer Space)
An acoustic buffer grooved into the landscape around Amsterdam’s Schiphol Airport, by landscape artist Paul de Kort
A paradox of non-place: a foreigner lost in a country he does not know (a ‘passing stranger’) can feel at home there only in the anonymity of motorways, service stations, big stores or hotel chains. For him, an oil company logo is a reassuring land-mark among the supermarket shelves he falls with relief on sanitary, household or food products validated by multinational brand names.Non-Places: An Introduction to Supermodernity - Marc Augé (1992). (via besieging)
For some reason all the photos ‘of’ my grandmother’s house are actually from it. I don’t think anyone in the family has a photo of the actual building.
THE SUM OF HALFWAYS
The Huffington Post | By Mallika RaoThe Beijing-based artist and beekeeper Ren Ri is a focused man. His new three-part series — titled “Yuansu” in reference to the Chinese word for “element” — turns bees into his collaborators. Yuansu II features sculptures made by bees, of beeswax.
In an interview with CoolHunting, Ren explains the “special” properties that make beeswax such an interesting material:
“It’s unstable and can change shape with temperature. The structure of wax cells is orthohexagonal, which is an inconceivable feature in the natural world and it’s a peculiarity of honeybees.”
The sculptures are housed in transparent plastic polyhedrons. At the center of each is the queen bee, positioned thusly so as to enable the worker bees to build around her. They build symmetrically, due to the even planes of the polyhedrons. Every seventh day, Ren changes the gravity of the structure by rotating the box onto a different side. The act is in reference to the biblical concept of creation, but introduces a random element. Ren determines how to shift the box by the roll of a dice. Each time, there’s no telling how the bees will react to their new environment.
Dmitry Morozov … [influenced by] the book Cities and Complexity by Michael Batty …. [has creted] an autonomous, algorithmic city plan generator made through a modified Etch A Sketch.
The device makes generative (and abstract) city maps through Arduino Uno, a stepper motor, and a speed/delay/step length controller. It’s fairly simple, but is an interesting interpretation of Batty’s work, and also makes a favorite childhood toy look like a possessed prop from The Poltergeist.