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According to the winners of eVolo’s 2016 Skyscraper Competition, the New York City of the future could include a massive drone-docking tower and a torn-up Central Park replaced with lakes and hills atop a submerged, mirrored horizontal apartment/office complex.
The contest, in its 10th year, invites designers to submit their concepts for futuristic towers that are then judged by the principals of major architecture firms. Most of this year’s winning entries are designs for a dystopia, examples of how the next generation of architects might attempt to delay humanity’s self-destruction: the designs accommodate for overpopulation, global warming, and some of the 7 million drones estimated to fly in US skies by 2020.
The winning design, called New York Horizon, proposes tearing up Central Park — the third most visited tourist attraction in the world — to expose the “rugged, bedrock-strewn landscape” beneath. The designers, recent RISD grads Yitan Sun and Jianshi Wu, say they would “relocate the soil from the original park to various neighborhoods, which would be demolished and moved into the new structure,” and then transform the sunken landscape into hills, valleys, and lakes for hiking and swimming. Around the park’s perimeter they would build a horizontal, 100 feet deep “sidescraper,” housing apartments, stores, museums, and libraries in its 1,000-foot high walls.
This is a bad and virtually impossible idea, but listing the reasons why is beside the point. As Kristin Copps points out in CityLab, many of these winning designs, and their wild impracticality, speak less to the actual future of architecture than to the rise of internet “Contestism,” “a trend in architecture that flows from the convergence of open-design competitions, cheap rendering software, and viral media.” Such competitions drive an impulse to come up with fantastical renderings that prioritize shareability over feasibility. That doesn’t mean they’re not cool, imaginative ideas, but perhaps they shouldn’t be taken much more seriously than, say, the animated flying buildings of The Jetsons or the MC Escher–inspired architecture of video games like Monument Valley.
The University of Virginia researchers wrote that the data “provides compelling evidence that these symbols are associated with hate.”
We are waiting for spectacle and when the quotidian, yet incongruous actions occur I wonder whether there is any real payoff coming.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
Tanega’s approach to mark-making comes across as stream of consciousness, as if she’s engaged in a conversation with herself.
Starting Monday, readers can borrow one of 50 rare and out-of-print titles, mailed to them completely free of charge, from Saint Heron Library.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
This is Yuskavage’s great gift, turning upside down our settled ways of thinking and seeing and, with ease, transforming the vulgar and ridiculous into the sublime.
51 international publishers and galleries showcase their latest editions in prints and artists’ books at this free public fair, which is fully online this year.
While hardly about the pandemic, or any of the other crises so afflicting us, all are invoked in this exhibition, which is also often tender and profoundly soulful.
These glowing, dynamic artworks reproduce something of Bosch’s chaotic energy, but on an immersive, multi-sensory scale.
This week, addressing a transphobic comedy special on Netflix, the story behind KKK hoods, cultural identity fraud, an anti-Semitic take on modern art, and more.