#bamboo-theatre

#bamboo-theatre

"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."

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.

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.

The 26-year-old real estate project manager from Munich came to the surf camp to improve her skills on the water. I came to talk with adventurous travelers about their big ideas, from new businesses to life after layoffs.

On paper, it looked like a step up. In reality, it was the first sign that the way I was structuring my life no longer fit. I helped lead the company's move - setting up the office, hiring staff, and building operations from scratch. Malta had what I thought I wanted: sun, ocean, and easy access to the outdoors. Socially, something was missing.

The Maison has long shone a light on exquisite art. Toward the end of the 19th century, the Maison commissioned Czech artist Alphonse Mucha to create its first advertisement, the first such collaboration between a Champagne house and an artist. Since 2008, 12 contemporary artists have been entrusted with Ruinart's Carte Blanche to reimagine not just the Maison's legacy, but also its long-standing pledge to sustainability.

For many years, bamboo has been mostly known as the favourite food of giant pandas, but a group of engineers say it's time we took it seriously as a building material, too. This week the Institution of Structural Engineers called for architects to be bamboo-ready as they published a manual for designing permanent buildings made of the material, in an effort to encourage low-carbon construction and position bamboo as a proper alternative to steel and concrete.

Haruka Kojin (artist), Kenji Minamigawa (director), and Hirofumi Masui (production manager) are the founding trio of 目[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.

A sprawling tale of two Singapores, the short documentary Sandcastles draws connections between Singapore, Michigan - a 19th-century ghost town swallowed by sand following widespread deforestation - and the island country of Singapore, where rapid development and land reclamation has, for decades, been enabled by the importation of sand. More poetic exploration than call to action, the work surveys waterways, cycles of development and the transient nature of sand - deceptively sturdy over short timescales but, over decades, quite volatile.

Mumbai is a city of simultaneities. Its urban fabric is dense and restless a patchwork continually fractured by moments of porosity. Narrow alleys suddenly unfold into courtyards, and fleeting intimacies emerge between strangers in crowded trains. Rhythms of chaos and solitude overlap seamlessly to create an everyday theatre of resilience.

"The idea is that intention is not the whole story," says Selene Yap, a co-curator of the Biennale. "Systems can generate a certain kind of afterlife, and there are side effects." While the waterfall impresses, it also has consequences, she adds. The work uncovers how Singapore imports hydropower through transnational infrastructure, including the Vajiralongkorn Dam, whose construction has displaced Thailand's indigenous Karen hill tribe, forcing many to live in floating homes on the reservoir.

The building is organized around a series of repetitive vertical concrete fins that define the primary system. These elements operate as climatic filters, spatial thresholds, and structural components, establishing a rhythmic articulation across the elevation. Their spacing creates varying degrees of permeability, regulating natural light while framing controlled views toward the distant topography.

The proposed Cubberley arts project involves refurbishments to the center's existing theater space. Renovations would include adding restrooms, expanding the lobby, upgrading accessibility and revitalizing its technical capabilities. The proposed project would also create a new professional-size theater for TheatreWorks to present its mainstage productions, as well as space for the company's arts education, community engagement and new works programs. The city is pursuing development of a recreation and wellness center on another portion of the Cubberley campus.

Located on the southeastern edge of the University of Indonesia's Faculty of Economics and Business, AlIqtishad redefines the role of a campus Mushola, shifting from a discreet endpoint to a civic and spiritual threshold within the FEB UI Masterplan.

This elongated entrance sequence establishes a gradual transition from the public urban environment to the private domestic space. Enclosed by stone walls and a timber ceiling, the passage leads into a double-height living area that opens onto the central courtyard, creating immediate visual and spatial continuity across levels. The courtyard functions as the core of the house, mediating environmental performance and spatial organization.

Hiroyuki Oki + 13 Principal Architect: Vo Trong Nghia, Nguyen Tat Dat Design Team: Nguyen Van Tung, Tran Thi Khanh Anh More SpecsLess Specs Hiroyuki Oki Text description provided by the architects. This project is located in Ben Tre, Vietnam, and was completed in 2021. With a total area of 430m2, the project includes 3 bedrooms and one living room, each with a view of the nearby river.