Jupiter Artland offers a rolling programme of temporary exhibitions as well as 150 acres of Scottish countryside populated by specially commissioned permanent works by over 40 major artists.
The most significant find was discovered during construction of one of the wind turbine platforms. Objects of bronze and amber were found close together, leading to the excavation of a hoard of Bronze Age jewelry dating from around 1500 to 1300 BC.
Craft is often defined as skill in making things by hand, but this interpretation is being challenged by AI. Craft transcends physical interaction; historical figures like Mozart and Beethoven exemplify mastery without traditional methods.
From unassuming hunks of Carrara marble and limestone, Matthew Simmonds carves realistic, miniature gothic cathedral arches, stairwells, and colonnades. Often based on architectural details of real places, such as cities around Tuscany and Germany's Bamberg Cathedral, the sculptures portray intimate details of corners, vaulted ceilings, arcades, and stairwells that can sometimes be peeked through additional apertures.
The advertising industry has always been in the business of making things, such as the OOH billboard, the 30-second spot, the snappy social post, the standard website: final, finite assets polished and pushed into the world. Agencies were paid, often by the hour, for producing final versions of these things and then moved on to the next project. Even with generative AI entering the picture, much of the conversation remains focused on making those same things faster or cheaper.
Researchers at the Norwegian University of Science and Technology and the University of Tokyo have made a prototype of botanical cement made of desert sand and plant-based additives in hopes that it can be used to build houses and roads. Once mixed, the team adds tiny pieces of wood together and presses them all with heat to produce the cement.
It's likely that you've encountered recycled glass countertops without realizing it. They're far from the hippie-style broken-glass mosaic art of yesteryear, instead presenting as sleek, highly polished, professional slabs with intriguing bits of confetti-style color trapped inside. That's the recovered glass bits set into a binding material such as resin, cement, or concrete, and then smoothly polished so that the composite surface feels like stone.
Rather than representing a simple return to the past, this renewed interest reflects a broader reconsideration of how architecture engages with materials, local resources, and environmental conditions.
This corn-based construction material was made by Manufactura, a Mexican sustainable materials company, and it imagines a second life for waste from the most widely produced grain in the world. The project started as an invitation by chef Jorge Armando, the founder of catering brand Taco Kween Berlin, to find ways he could reintegrate waste generated by his taqueria into architecture. A team led by designer Dinorah Schulte created corncretl during a residency last year in Massa Lombarda, Italy.
Crude oil is a complex mixture of hydrocarbons - molecules made mainly of carbon and hydrogen. Refineries and chemical plants separate and transform these molecules into smaller chemical building blocks known as petrochemicals. Some of the most important petrochemical building blocks include chemicals such as ethylene, propylene and benzene.
Photovoltaic (PV) solar energy represents a modular technology that can be manufactured in large-scale facilities, generating economies of scale, while also being adaptable to small-scale applications. From residential rooftop systems to large-scale power generation installations, photovoltaic solar energy has established itself as a cost-effective option for electricity production in many countries around the world.
Baqiao bridges, including the nearby Shisanba Bridge, typically appear in areas where the difference between river level and embankment is relatively small. Their upstream piers are shaped like tapered spindles with slightly raised tips, creating a distinctive structural profile. Stone slabs span between the piers, forming a bridge deck assembled through interlocking construction methods.
Haruka Kojin (artist), Kenji Minamigawa (director), and Hirofumi Masui (production manager) are the founding trio of ç›®[mé] (which means "eye" in Japanese). Their approach? "To create works that allow us to relive the 'world as it is' that constantly unfolds before our eyes," they explain on their website. This rather mysterious intention has nonetheless led the Japanese collective, created in 2013, to exhibit at the Japan Society in New York and the Centre Pompidou-Metz, which have presented several of their installations. Japanese private homes seem to be a favorite disruptive space for the artists, who have previously integrated an extremely minimalist art gallery into a dilapidated house on another Japanese island in 2020. Other notable works include giant inflatable faces installed above natural landscapes and the recreation of monumental waves.
From the large industrial roofs and galleries of the 19th century to the contemporary atriums of museums and public buildings, glass has been a recurring material in shaping large and monumental interior spaces. More than a technological or engineering solution, these horizontal glazed planes introduce a distinct luminous quality: light that comes from above. Unlike lateral daylight entering through façades, zenithal light is more evenly distributed, reduces harsh shadows, and lends spaces a sense of continuity and openness that is difficult to achieve otherwise.
To drink, to bathe, to swim, water has been integral to every society, at every point in our relatively short history here on earth. We connect, drink, and extend ourselves over water, a lifegiving force whose polarity explains much of human behavior. Fostering this sense of community is vital to our health and happiness as well.
This research-based design project by Laura Oliveira investigates discarded as a potential raw material for sustainable design applications. Human hair is produced continuously and in large quantities through everyday grooming practices, yet it is almost always treated as waste once separated from the body and typically disposed of in landfills. Despite its material properties, strength, flexibility, and durability as a keratin-based protein fiber, its remains uncommon within design and research contexts.
