Fourteen years from now, New York’s skyline will be one vastly different than the recognizable profile visible today. With dozens of new projects set to make their mark on the city, the creative design companyVisualhouse – specializing in 3D visualizations – has released a rendering of New York in 2030. “This image shows the who’s who of modern architecture – with buildings designed by Jean Nouvel, Rafael Vinoly, Bjarke Ingels Group, SOM,Foster + Partners, and Kohn Pedersen Fox, just to name a few,” said Visualhouse CEO and Founder, Rob Herrick. “How these modern day masterpieces all fit together in the sky space, that will be the legacy for New Yorkers in 2030 and beyond.”
Courtesy of VISUALHOUSE
The rendering includes recently opened buildings, under construction projects, and future proposals, to offer a hypothetical view of of a dramatically more vertiginous New York. Some of these additions include, Nordstrom Tower, which when completed, will have the tallest roof in the United States, BIG’s nearly complete VIA 57 WEST, 432 Park Avenue, and various projects around the newly developed Hudson Yards site, such as 30 and 35 Hudson Yards, both by Kohn Pedersen Fox, 15 Hudson Yards by Diller Scofidio + Renfro, and SOM’s nearby office and residential complex, Manhattan West. While many of these projects have already begun construction, only time will tell if this hypothetical New York materializes, and we can only wonder what other surprises may be in store for one of the world’s most recognized skylines.
From the architect. This home was originally designed as a single-level house for a mature couple wishing to move out of the bustling city center. We ended up designing the home as a reaction to local regulations that dictated the shape and color of the roof. The second story continues all the way to the covered veranda, which, like the main living space, has two floors.
Courtesy of Prodesi
The final project differs very little from the initial idea and sketches. The basic concept is that of “a house within a house.” Only about two-thirds of the total area of the house is heated living space. This wooden building is enclosed by an outer structure (regulation brick red) featuring interspaces and covered verandas. The overhang of the roof keeps the sun out, especially on the southern glass façade so that window coverings are not needed.
Courtesy of Prodesi
The internal layout of the building is traditional yet logical in its aspect. On the southern side natural sunlight warms the living areas. The cooler section of the building on the north wall houses more the utilitarian rooms. The main living space is divided into two levels joined by a conventional staircase. The master bedroom, guest room, and another room that might serve as a workshop are also on the ground floor. In the attic “galleria” there is a second level of living space and the entrance to the second level of the covered veranda. The interior of the covered veranda is lined with larch paneling.
Plan 1
On the ground floor one can enter both verandas. The veranda on the south wall is narrow. The covered main veranda features a built-in larch bench and a large exterior window fitted with a white shutter for maximum privacy.
Courtesy of Prodesi
It is advantageous that the plot of land was once the garden to an old recreational building. We were able to erect the new house into an established environment, which the landscape architects soon made into a very pleasant garden space.
Plan 2
The aspect of the lot is ideal, with an access road from the north. We situated the approach to the land in the northeast corner.
Hollow de Katie Paterson y Zeller & Moye, 2016. Cortesía de la Universidad de Bristol y Situations, fotografía por Max McClure
A new installation by artist Katie Paterson and architects Zeller & Moye for the University of Bristol, Hollow has been permanently installed in the city’s Royal Fort Garden. Commissioned to mark the opening of the University’s new Life Sciences Building, adjacent to the gardens, the project has been organized by Bristol-based arts group, Situations. The installation, an agglomeration of wooden rods, is a collection of samples from over 10,000 unique tree species. Collected over a three-year period, the samples were sourced from arboretums, xylaria, herbaria, and collectors worldwide. The installation is joined by a companion website and public participation project, Treebank, in association with BBC Four.
Hollow de Katie Paterson y Zeller & Moye, 2016. Cortesía de la Universidad de Bristol y Situations, fotografía por Max McClure
“The hollow interior is an introverted and meditative space where, whether sitting or standing, one finds oneself embraced by history,” say architects Christoph Zeller and Ingrid Moye. “Our design conjoins thousands of wooden blocks of differing sizes to form one immense cosmos of wood producing textures, apertures and stalactites. Openings in the vaulted top let in just enough natural light to create the dappled light effect of a forest canopy.”
As described by Situations: “From the oldest tree in the world to some of the youngest and near-extinct species, the tree samples contain within them stories of the planet’s history and evolution through time. From the Indian Banyan Tree, under which Buddha achieved enlightenment, to the Japanese Ginkgo tree in Hiroshima, a tree that witnessed and survived one of the darkest moments of human history.” Tree species in the project came from a diversity of sources, including Yakushima, Japan, the White Mountains of California, and donations from the Herbario Nacional de México, Royal Botanic Gardens, Kew, Kyoto University, the Arnold Arboretum at Harvard, and many others.
Hollow de Katie Paterson y Zeller & Moye, 2016. Cortesía de la Universidad de Bristol y Situations, fotografía por Max McClure
“Some samples are incredibly rare,” says artist Katie Paterson. “[There are] fossils of unfathomable age, and fantastical trees such as Cedar of Lebanon, the Phoenix Palm, and the Methuselah tree, thought to be one of the oldest trees in the World at 4,847 years of age, as well as a railroad tie taken from the Panama Canal Railway, which claimed the lives of between 5,000 to 10,000 workers over its 50 year construction, and wood is salvaged from the remnants of the iconic Atlantic City boardwalk devastated by Hurricane Sandy in 2012.”
Hollow de Katie Paterson y Zeller & Moye, 2016. Cortesía de la Universidad de Bristol y Situations, fotografía por Max McClure
Like an expose of all the world’s forests, the project recalls Thomas Heatherwick’s Seed Cathedral at the 2010 Shanghai World Expo, in its review of history at a microcosmic scale. The exterior cluster-like appearance of the installation is meant to evoke a forest canopy ecosystem, with the Douglas Fir posts reflecting trees of varying height and development, while the interior contains specimens from the earliest forests, available only as petrified wood fossils, up to the most recent emergent species.
Hollow de Katie Paterson y Zeller & Moye, 2016. Cortesía de la Universidad de Bristol y Situations, fotografía por Max McClure
From the architect. Brecon Estate Winery was bestowed a Merit Design Award for Architecture at the 2016 San Francisco AIA Design Awards. The winery, remodeled by Aidlin Darling Design, is located on the “Emerald Necklace” of Paso Robles’ progressive wine growing region. The jury noted that the real strength of the project is in its simplicity and its restraint; “The crisp detailing and carefully composed materials make this just a stunning project through and through.”
Brecon Estate Winery strived to reconnect its prized location with its wine and physical presence. To this end, phase one of the remodel involved a complete facelift and reorganization of an existing production facility and tasting room. The previously existing structure had virtually no relationship to the land that surrounded it. Aidlin Darling Design set out to return the building to its agricultural and pragmatic simplicity; faux-historic decoration was stripped away and replaced with earthen plaster and an untreated cedar rain screen. These naturally weathering materials will age gracefully, and are intended to reciprocate the agrarian structures found along California’s Central Coast.
The visitor’s approach to the building’s tasting area was reorganized in an effort to reconnect them physically and experientially to the landscape and the adjacent vineyards. Revolving around a majestic oak tree, the tasting area connects indoor and outdoor space, and includes a large cantilevered deck, large pocketing doors, and a tasting bar positioned as a hinge between inside and outside spaces.
Level 2 Floor Plan
Future plans call for a new subterranean production facility and tasting area nearby. Ultimately, this reinterpretation of place will reflect Brecon Estate’s authenticity, integrity and passion, and the role of place – terroir – in the making of wine.
Aidlin Darling’s approach to design seeks to connect to the inherent spirit of a space, intertwining our experience with our environment through design that is both rational and sensual. With the intent of engaging all of the senses, their projects span a wide range of scale and type, and are as varied and prestigious as the Windover Contemplative Center at Stanford University, James Beard award-winning Bar Agricole, McEvoy Ranch Winery, and residential projects such as Paso Robles Residence and Vineyard Estate.
The Royal Institute of British Architects (RIBA) has announced its longlist of 30 buildings to be considered for the inaugural RIBA International Prize. According to the organization, “Projects range from large urban infrastructure schemes to private residential projects; cultural destinations to civic spaces; academic buildings to places of worship. The RIBA International Prize will be awarded to the most significant and inspirational building of the year. The winning building will demonstrate visionary, innovative thinking and excellence of execution, whilst making a distinct contribution to its users and to its physical context.” This is the first RIBA Award to be open to any qualified architect in the world.
The 30 long-listed buildings will be visited over the summer by the RIBA awards committee, after which, the list will be reduced to 20 winners of RIBAAwards for International Excellence. Subsequently, six finalists will be chosen and visited by a Grand Jury in the fall. According to RIBA, “[Awards for International Excellence] will be given to buildings worldwide that stretch the boundaries of architecture. Irrespective of style, complexity and size of both scheme and budget successful projects should demonstrate visionary or innovative thinking and excellence of execution.” The Grand Jury is being lead by Richard Rogers and includes Billie Tsien, Kunlé Adeyemi, Philip Gumuchdjian, and Marilyn Jordan Taylor.
“It is a huge honour and responsibility to consider work for premiation,” said Billie Tsien. “Of importance to me personally is the opportunity to recognize work of integrity, both aesthetically and in the value system under which it is made.”
For this inaugural year of the RIBA International Prize, buildings entered for consideration were completed in a three year period (between January 1, 2013 – February 1, 2016), but in subsequent years the prize will consider buildings completed only within two years. RIBA has been giving architectural awards since 1966, including the Royal Gold Medal, RIBA House of the Year, and RIBA Stirling Prize. The winner of the latter will represent the United Kingdom in the International Prize.
“We have been delighted with the response to our inaugural RIBA International Prize, which has brought a huge range of exceptional entries from all around the globe,” said RIBA President, Jane Duncan. “It will be fascinating to see insights from the judges and entrants into the power and value of great architecture, wherever you are in the world.”
Angdong Hospital, Baojing County, China, by Rural Urban Framework. Photograph by Rural Urban Framework. Image Courtesy of Royal Institute of British Architects
Arquipelago Contemporary Arts Centre, Ribeira Grande, The Azores, by Menos é Mais Arquitectos Associados and João Mendes Ribeiro Arquitecto. Photograph by José Campos. Image Courtesy of Royal Institute of British Architects
Buenos Aires Ciudad Casa de Gobierno, Buenos Aires, Argentina, by Foster + Partners, Berdichevsky Cherny Arquitectos and StudioMinond. Photograph by Nigel Young. Image Courtesy of Royal Institute of British Architects
Culture House Rozet, Arnhem, Netherlands, by Neutelings Riedijk Architects. Photograph by Scagliola Brakkee. Image Courtesy of Royal Institute of British Architects
DLR Lexicon, Dún Laoghaire Co, Dublin, Ireland, by Carr Cotter Naessens. Photograph by Dennis Gilbert. Image Courtesy of Royal Institute of British Architects
Europaallee Baufeld E, Zurich, Switzerland, by Caruso St John Architects and Bosshard Vaquer Architekten
Europaallee Baufeld E, Zurich, Switzerland, by Caruso St John Architects and Bosshard Vaquer Architekten. Photograph by Georg Aerni. Image Courtesy of Royal Institute of British Architects
European Hansemuseum Lübeck, Germany, by Studio Andreas Heller Architects & Designers
European Hansemuseum Lübeck, Germany, by Studio Andreas Heller Architects & Designers. Photograph by Werner Huthmacher. Image Courtesy of Royal Institute of British Architects
Farming Kindergarten, Bien Hoa City, Vietnam, by Vo Trong Nghia Architects. Photograph by Hiroyuki Oki. Image Courtesy of Royal Institute of British Architects
Fine Arts Museum of Asturias, Oviedo, Spain, by Mangado y Asociados. Photograph by Pedro Pegenaute. Image Courtesy of Royal Institute of British Architects
Fulton Center New York, USA, by Grimshaw, HDR and Page Ayres Cowley Architects. Photograph by James Ewing. Image Courtesy of Royal Institute of British Architects
Heydar Aliyev Centre Baku, Azerbaijan, by Zaha Hadid Architects and DiA Holding. Photograph by Hufton + Crow. Image Courtesy of Royal Institute of British Architects
Invisible House, Hampton, Australia, by Peter Stutchbury Architecture
Invisible House, Hampton, Australia, by Peter Stutchbury Architecture. Photograph by Michael Nicholson. Image Courtesy of Royal Institute of British Architects
Jockey Club Innovation Tower, Hung Hom, Hong Kong, by Zaha Hadid Architects. Photograph by Iwan Baan. Image Courtesy of Royal Institute of British Architects
Museo Jumex, Mexico City, Mexico, by David Chipperfield Architects and Taller Abierto de Arquitectura y Urbanismo (TAAU). Photograph Simon Menges. Image Courtesy of Royal Institute of British Architects
Office Building Moganshan Road, Hangzhou, China, by David Chipperfield Architects
Office Building Moganshan Road, Hangshou, China, by David Chipperfield Architects. Photograph by Simon Menges. Image Courtesy of Royal Institute of British Architects
Oita Prefecture Art Museum, Oita, Japan, by Shigeru Ban Architects. Photograph by Hiroyuki Hirai. Image Courtesy of Royal Institute of British Architects
Public Library of Constitucion, Constitucion, Chile, by Sebastian Irarrazaval Arquitectos. Photograph by Felipe Diaz. Image Courtesy of Royal Institute of British Architects
Qatar Faculty of Islamic Studies, Doha, Qatar, by Mangera Yvars Architects
Qatar Faculty of Islamic Studies, Doha, Qatar, by Mangera Yvars Architects. Photograph courtesy of the Qatar Foundation. Image Courtesy of Royal Institute of British Architects
Rundeskogen, Stravanger, Norway, by dRMM Architects / Helen and Hard Architects. Photograph by Alex de Rijke. Image Courtesy of Royal Institute of British Architects
Saint Louis Art Museum, St Louis, USA, David Chipperfield Architects and HOK
Saint Louis Art Museum, St Louis, USA, by David Chipperfield Architects and HOK. Photograph by Simon Menges. Image Courtesy of Royal Institute of British Architects
Saint Trinitatis Catholic Church, Leipzig, Germany, by Schulz und Schulz
Saint Trinitatis Catholic Church, Leipzig, Germany, by Schulz und Schulz. Photograph by Simon Menges. Image Courtesy of Royal Institute of British Architects
Sancaklar Mosque Büyükçekmece, Istanbul, Turkey, by EAAEmre Arolat Architecture. Photograph by Cemal Emden. Image Courtesy of Royal Institute of British Architects
SkyTerrace Soo Khian Chan, Singapore, by SCDA Architects
SkyTerrace Soo Khian Chan, Singapore, by SCDA Architects. Photography by Aaron Pocock. Image Courtesy of Royal Institute of British Architects
St Angela’s College, Cork, Ireland, by O’Donnell + Tuomey
St Angela's College, Cork, Ireland, by O'Donnell + Tuomey. Photograph by Alice Clancy. Image Courtesy of Royal Institute of British Architects
Stormen Concert Hall, Theatre and Public Library, Bodø, Norway, by DRDH Architects. Photograph by David Grandorge. Image Courtesy of Royal Institute of British Architects
The Ring of Remembrance, International WWI Memorial of Notre-Dame-de-Lorette, Ablain-Saint-Nazaire, France, by Agence d'Architecture Philippe Prost. Photograph by Aitor Ortiz. Image Courtesy of Royal Institute of British Architects
Tula House Heriot Bay, Quadra Island, Canada, by Patkau Architects. Photograph by James Dow. Image Courtesy of Royal Institute of British Architects
UTEC Universidad de Ingenieria y Tecnologia, Peru, by Lima Grafton Architects and Shell Arquitectos
UTEC Universidad de Ingenieria y Tecnologia, Peru, by Lima Grafton Architects and Shell Arquitectos. Photograph by Iwan Baan. Image Courtesy of Royal Institute of British Architects
VIA at West 57th, New York, USA, by Bjarke Ingels Group and SLCE Architects. Photograph by Nic Lehoux. Image Courtesy of Royal Institute of British Architects
“It’s when I sleep that I can see clearly”, the poet said. However, all of us want to see clearly also when we are awake. When we receive a commission to redesign an optic centre, we imagine a clear, bright, intelligent and rational space. We leave out any confusion or ambiguity, being conscious of the functions that are to be developed through the activity that we undertake.
Model
We set off from the existing store, with generous windows framed with natural wood. We do not intend to start from the scratch: we believe in the value of a well performed job and so we adopt the existing frames as if they were our own. Based on the frames made of 7×7 cm wood strips, we make up a 3D structure as a kind of scaffolding that joins the strips laterally and duplicates the mesh of the facade inside the shop. This way we generate a structure with a porch, or an atrium, which embraces the inner door in the centre, the display windows at each side, and structural pillars or elements of installations in the boxes formed between the empty spaces.
Just behind the atrium we find the customer service space and the shop, but also the workshop: one of the key points of our project. From the customer study that we carried out before starting the project, we understood that in this optic shop the workshop should not be a back shop as it used to be. That is why, just like in a restaurant with an open kitchen, we have made it participate in the central space, just filtered by a glass display of the major glasses in the optic shop. The closed rooms – the optician’s consulting room, the office, the storage and the service rooms – are placed like a tail, which the shop has at its left rear part. They help us make its shape more regular and absorb the level loss that this space has.
The optical glass windows lit up or backlit by the distribution or the furnishings confer to the space a character of a gleaming cloud. Only the recovered wooden structure, which stretches out to the atrium, dares to break the purity of the dominating whiteness: it is a commercial space full of experience, knowledge and innovation, where it is not necessary to fall asleep in order to see clearly.
Virtual Reality (VR) is about to change architecture forever, meaning that every firm needs to decide how it’s going to respond to those changes. That may sound like hyperbole, but 3D imaging and the benefits computers brought to the field pale in comparison to what VR brings.
Computer-generated images are, in many ways, an updated version of the hand-drawn renderings of the past. VR takes viewing models to a whole new level. Based on existing design software, it allows you to take 3D models and experience them in amazing new ways. So if your firm is thinking about whether or not to invest in VR technology now, here are a few reasons why you should stop considering and start changing how your architecture firm functions.
Here’s a chance to delve a little bit more into what makes the VR experience different for architects and their customers. Every architect knows that computer-built 3D renderings can only go so far in creating an accurate feel for a building. VR, however, takes this a large step forward by allowing the user to walk through and see each detail.
This translates into a competitive advantage: when a customer can experience a proposed building on a more visceral level, they’re more likely to choose your design. In one article, designer and visualizer Olivier Demangel described the shocking level of realism he experienced when using VR for the first time. He could hardly believe how different his experience of the structure was, as well as how close that experience was to the finished project.
So, to be frank, if your firm is offering simple computer renderings while a competitor offers VR, the consumer’s choice is going to be an easy one.
2. Be at the Forefront of an Enormous Industry Trend
This ties in very closely to the competition element. If your firm can be an early adopter of virtual reality technology applied to architectural design, you can be ahead of an enormously important industry trend. Being ahead can allow you to brand your company as an innovator in the virtual reality space.
Applying “first to use virtual reality in X application” to your marketing materials can mean gaining a long-term advantage in branding. Some firms are already buying VR headsets like the Oculus Rift and HTC Vive as they’re released, so time is running out to be ahead of this trend.
3. The Start-Up Costs are Low
The cost of adopting VR technology is relatively low. An Oculus Rift is $600 per unit, while the HTC Vive is $800. Other systems are currently in the works, but even when you add the computers usually required to accompany these headsets, you can get a VR setup for not much more than $1000. For most firms, if that VR set can win them a single extra client, it’s already paid for itself.
4. Skip Rounds of Reworking
When a client is able to experience a project in such stunning detail, they’re able to get a better feel for what they want and don’t want. That means less time your firm will spend reworking models and asking for another round of feedback.
Another way VR cuts time here is by allowing you to render things like lighting in real time. A client can switch lights on and off to see how different lighting setups affect the space. That kind of interactivity is both enjoyable from a client’s perspective, and also allows them to see every aspect of a design quickly.
5. Simulate Real-World Scenarios
Simulations can include something as simple as the lighting example above, but what about larger structures like office buildings, or even airports? Here, VR technology can allow designers to take real-world subjects and actually see how they interact with their environment.
For example, you can test your emergency exit systems by placing someone in an obscure part of a building and seeing how quickly they can exit using the signage system you’ve put into place. Computer models may be able to show us how people can exit the building, but they won’t touch on the psychology of how people react to their environments. These insights will make future buildings safer and more user friendly.
That’s only the beginning of where these kinds of simulations can take VR in architecture.
If you’re interested in trying out a virtual design service, now’s the time. The direction of this technology’s role in architecture is clear, as are the advantages of getting ahead of the trend. If you’re curious, you can always give it a try and see for yourself.
Eric Halsey is a historian by training who’s been interested in US small businesses since working at the House Committee on Small Business in 2006. He loves technology and is interested in VR and often writes for ViaTechnik.com.
Between 2014 and 2015, right after graduating, Italian architect Bonaventura Visconti di Modrone was invited to Anse-à-Pitres, a small village in the Sur Este department of Haiti, to build a housing complex for Ayitimoun Yo, an N.G.O. that helps local street children.
A meeting with the N.G.O founders fostered the idea of designing an anti-seismic building for the children, that could also serve as a resource (haven) to help them feel welcome and part of a family again.
The children, on the other hand, would need different areas; an indoor space to share with their housemates; a veranda to do their homework and spend time with their close friends; a lateral big open space to share with all the others. This subdivision is important considering the fact that there are children of different age and background.
Section
Since it was important that the building fit within the local architectural context, two of its typical elements were adopted: the lakou settlement and the Haitian rural house.
The first is a traditional way of arranging the houses around a central courtyard; this was reinterpre- ted by placing the houses in a line and leaving a big open space between the buildings. The second is a simple and clean rectangular-shaped house, with an open veranda that is cheerfully decorated and covered with a pitched roof. In the Haitian culture, the pitched roof especially means respect and acceptance, so it was included repeatedly, creating the characteristic shape of the unin- terrupted cover.
The Haitian climate is very hot and humid, so the roof structure is detached from the houses, al- lowing fresh air to breeze through and providing natural ventilation.
Diagram
Some of the project details, such as the colour of the bricks and of the concrete platform, were cho- sen directly by the children through workshops; this helped them to personalise their future houses and strengthened their feeling of ownership.
The main issue we faced during the construction was the organization of the logistics; many of the materials needed were bought in the Dominican Republic, mainly in the capital city of Santo Domin- go, which is a one-day trip from the construction site.
Furthermore, because of diplomatic issues between the two countries, it has been difficult to clear the goods through custom and transport them to the site.
All the other materials and components were customized on-site by local craftsman. The decision to employ local workers and artisans exclusively, led to the direct participation of the entire community and to the creation of a facility (site; place) that belongs to the area and to its architectural and cultural context.
Architectural and landscape photographer Jade Doskow is publishing the first hardcover, full-color monograph of her eight-year photography project on the post-utopian sites of the World’s Fairs, entitled Lost Utopias. Since 2007, the project has captured the remaining architecture and landscaping of international World’s Fairs at 26 sites in North America and Europe on large-format 4”x5” film.
The book is a collection of World’s Fair structures, like the Eiffel Tower in Paris, the Atomium in Brussels, and the Space Needle in Seattle, “as they exist today, often repurposed, abandoned, or surrounded by a strange new environment unimaginable at the time of construction,” writes Doskow. “These sites exist as surreal, dreamlike time machines, simultaneously looking forward and back.”
Lost Utopias is expected to be completed by December 2016, and is still seeking funding on kickstarter. Learn more about, or help fund, the project, here.
The Board of Directors of La Biennale di Venezia, upon recommendation from Alejandro Aravena, have announced the jury for the forthcoming Venice Biennale who will award the Golden Lion for Best National Participation, the Golden Lion for Best Participant in the International Exhibition Reporting From the Front, and the Silver Lion for a Promising Young Participant in the International ExhibitionReporting From the Front. They will also have the opportunity of awarding a maximum of one special mention to National Participations and a maximum of two special mentions to the participants in the International Exhibition.
Members of the jury include:
Pippo Ciorra (Italy), architect, critic and professor at Scuola di Ateneo di Architettura e Design di Ascoli Piceno (University of Camerino) and Venice’s IUAV. He has been a curator of exhibitions both in Italy and abroad. Since 2009, he is Senior Curator for architecture at the MAXXI in Rome
Sergio Fajardo (Colombia), professor of mathematics at the Universidad de los Andes, Bogotá, former mayor of Medellín and governor of the department of Antioquia, recipient of the Americas Award for Excellence in Public Service in 2007
Marisa Moreira Salles (Brazil), publisher, editor, book designer and entrepreneur in the field of technology, founder of Arq.Futuro, a think-tank on architecture and the future of cities
Hashim Sarkis (Lebanon, USA), Dean of the School of Architecture and Planning at MIT, architect at Hashim Sarkis Studios, former Khan Professor of Landscape Architecture and Urbanism at the Harvard University Graduate School of Design (GSD)
Karen Stein (USA), architectural advisor, Executive Director of the George Nelson Foundation, and faculty member of the Design Criticism program at the School of Visual Arts in New York
Sig Nordal 