Researchers at Swansea University have developed a novel approach to testing biomaterials for bone regeneration, offering both speed and ethical refinement.Published in Bioactive Materials journal, and led by Dr. Zhidao Xia, a team from Swanseas Medical School and Faculty of Science and Engineering has introduced a murine tibial periosteal ossification model that eliminates the need for traditional methods involving fractures or critical sized defects.In doing so, they significantly reduce animal suffering while enabling biomaterial evaluation in as little as 14 days, with cortical bone remodeling completed by 28 days.Dr. Xia explained, Our invention bridges the gap between synthetic substitutes and donor bone. Weve shown that its possible to create a material that is safe, effective, and scalable to meet global demand. This could end the reliance on donor bone and tackle the ethical and supply issues in bone grafting.Alongside Swansea, several institutions worldwide contributed to this project. These include the likes of Huazhong University of Science and Technology, and Xiangyang Central Hospital from China, Johns Hopkins University School of Medicine and the University of Rochester from USA, McGill University from Canada, Oxford Instruments NanoAnalysis, The Open University, the University of Oxford, and the University of Sheffield from UK.A murine animal model for rapid assessment of osteogenesis. Image via Swansea University.Periosteal model improves bone repair testingCentral to the models success is its focus on the tibial periosteum, where osteogenic cells naturally drive bone repair. Implanting biomaterial scaffolds between the tibia and surrounding muscle tissue has yielded notable results, including trabecular bone growth within two weeks.By the fourth week, this bone remodels into a new cortical layer. These findings, measured through micro computed tomography and histological analysis, revealed an exceptional eightfold increase in tibial thickness compared to control groups.One of the materials tested in this model is a hydroxyapatite aragonite (HAA) scaffold, a blend of hydroxyapatite widely used in bone grafts and calcium carbonate, which enhances biodegradation and supports bone growth.The scaffold gradually breaks down over six to twelve months, creating space for new bone tissue to grow. Researchers also experimented with zoledronate, a clinical bisphosphonate, finding that its addition significantly increased cortical bone formation, demonstrating its potential in enhancing biomaterial performance.Unlike ectopic methods where bone is generated in unnatural locations, this approach maintains the materials direct contact with both bone and muscle. This proximity replicates the complex environments typically encountered in orthopaedic applications, making the findings highly relevant for clinical scenarios.Validation of the model across species including rats and minipigs confirmed consistent outcomes. The HAA scaffold not only facilitated bone regeneration but also degraded fully within six months, according to the researchers.Ethical refinements and future directionsA notable advantage of the model lies in its streamlined testing process. Eliminating the need for large bone defects or fractures significantly reduces the invasiveness and duration of experiments.While the technique is particularly suited for early stage screening of biomaterials, larger animal trials and traditional fracture models are still required for regulatory approval and testing in complex defect scenarios.Further investigations aim to clarify the role of specific cells such as periosteal stem cells in the observed rapid bone formation. Improvements to micro computed tomography software are also needed to better analyze biomaterial performance, as current tools lack precision for evaluating these interactions.Despite these challenges, the research highlights calcium carbonates pivotal role in accelerating bone growth. Its faster dissolution compared to hydroxyapatite enables bone cells to infiltrate the scaffold more efficiently, although the exact mechanisms warrant additional study.Importantly, this model aligns with ethical research principles by significantly reducing animal suffering. The absence of induced fractures or large bone defects minimizes harm, offering a refined and humane method for early-stage biomaterial screening.While traditional fracture models and large animal trials remain essential for regulatory approval, this approach could streamline preclinical testing and reduce the number of animals required.The size and quality of the newly-formed bone calluses was compared through 3D analysis of the micro CT scanning data. Image via Swansea University.Alternative bone regeneration methodsGlobally, research groups have explored alternative approaches, each offering unique advantages in tackling the challenges of bone repair.Two years ago, researchers from Carnegie Mellon University and the University of Connecticut developed 3D printed calcium phosphate graphene (CaPG) scaffolds for future bone regeneration applications.Tested in vitro and in vivo, the scaffolds demonstrated osteogenic potential by supporting stem cell differentiation and regenerating bone in animal models. Using a Direct Ink Writing method, the CaPG scaffolds were found to biodegrade and resorb in vivo, promoting tissue regeneration without adverse effects on vital organs.Published in Nature, this study highlights CaPGs potential as a cost-effective, customizable, and resorbable alternative to traditional bone grafts.Back in 2017, researchers from Tianjin University, the Chinese Academy of Sciences, and the University of Hong Kong developed a 3D printable hydrogel-nanoclay composite designed to support bone cell growth.Published in ACS Biomaterials Science & Engineering, this material addresses bone defects caused by trauma, deformities, or tumor removal. In tests, the material promoted bone regeneration in tibia defects of live rats, significantly outperforming placebo treatments over eight weeks.Offering structural support and nutrition, the scaffold mimicked the extracellular matrix and had a potential to offer precision and individualized repair of load-bearing bone defects.What 3D printing trends do the industry leaders anticipate this year?What does the Future of 3D printing hold for the next 10 years?To stay up to date with the latest 3D printing news, dont forget to subscribe to the 3D Printing Industry newsletter or follow us on Twitter, or like our page on Facebook.While youre here, why not subscribe to our Youtube channel? Featuring discussion, debriefs, video shorts, and webinar replays.Featured image shows a murine animal model for rapid assessment of osteogenesis. Image via Swansea University.

A long-range solid rocket motor (SRM) developed by rocket engine manufacturer Ursa Major and Virginia-based Raytheon Technologies has completed successful missile flight testing for the US Army. The motor has so far been flown twice with Raytheon at Naval Air Weapons Station China Lake. Ursa Majors Lynx 3D printing technology was used to manufacture the SRM. This, in combination with Raytheons digital engineering capabilities, enabled the partners to accelerate development times and cut production costs.Daniel Jablonsky, Ursa Majors CEO, explained that the firm has utilized additive manufacturing to achieve unprecedented timelines, with nearly 300 SRM static test fires completed in 2024 alone. For this latest project, the team went from concept and design to firing and flight in under four months, which Jablonsky called lightning fast. He added that 3D printing has facilitated the production of agile solid rocket motor solutions with the design flexibility needed to expand the capabilities of the US military.In the US, demand for SRMs is coupled with a shortage of domestic suppliers. Supply chain challenges are impacting the US Department of Defense (DoD)s efforts to restock inventories and support ongoing war efforts in Ukraine and Israel. The Pentagons annual budget request for missile and munitions procurement, as well as related research and development, increased from $9 billion in 2015 to $30.6 billion in 2024.Jablonsky noted that Ursa Majors technology will scale SRM manufacturing at the pace and volume the country requires and at a price the country can afford.Testing an Ursa Major SRM. Photo via Ursa Major.3D printed SRM completes successful flight testRTX Ventures, Raytheons venture capital division, first invested in Ursa Major in 2023 to expand its SRM production capabilities and address the US militarys need for affordable precision-guided missiles.Ursa Majors Lynx technology combines metal 3D printing with product-agnostic tooling to fabricate multiple SRMs simultaneously in the same production line. Conventional SRM production processes are difficult to re-tool, expensive to ramp up, and dependent on large workforces. Lynx streamlines this process, introducing flexible and scalable manufacturing capabilities that unlock higher-volume SRM production at a fraction of the price.Raytheon and Ursa Major claim that the additive manufacturing-based approach will deliver a new generation of smart munitions for the US Army. These new weapon systems will reportedly be significantly more affordable than currently fielded, conventionally manufactured munitions.The successful US Army test demonstrates the long-range missile delivery capabilities of the companies 3D printed SRMs. Tom Laliberty, president of Land and Air Defense Systems at Raytheon, stated that these motors will allow the US and its allies to strike farther and faster than anything our adversaries have in their arsenals. He added that the SRMs provide affordable precision fires, while increasing range, safety, and magazine depth.Looking ahead, the next phase of the program will see Ursa Major and Raytheon improve the manufacturing process, with an additional flight test planned for 2025 and qualification in 2026.In a separate project, Ursa Major received $12.5 million from the US Navy and the Office of Strategic Capital (OSC) to scale the production of 3D printed SRMs. Through the prototype project agreement, the company is designing, manufacturing, and testing a new SRM prototype for critical missiles. This followed the news that the company is 3D printing the Navys Mk 104 dual rocket motor, which powers the SM-2, SM-3, and SM-6 missiles.US Navy SM-6 missile. Photo via the US Navy.3D printing missile systemsUrsa Major and Raytheon are not the only companies 3D printing missile systems for the US DoD. Earlier this year, Italian rocket and missile manufacturer Avio announced plans to triple its production of SRMs over the next 4-5 years to address growing US demand.While the role of additive manufacturing in this initiative hasnt been confirmed, the company actively uses 3D printing to produce propulsion systems. The firm possesses Velo3D Sapphire 3D printers to fabricate high-strength, corrosion, and temperature-resistance parts in nickel-based alloy materials. Avio previously partnered with Raytheon to build a domestic industrial base for critical SRMs. It is now building a US-based production facility to strengthen supply chains and diversify sourcing options.Elsewhere, US Defense firm Lockheed Martin is 3D printing key components of its new Mako hypersonic missile. Metal additive manufacturing technology is being used to fabricate the jet-fired missiles guidance section and fins, unlocking significant time and cost savings. The guidance section is 3D printed ten times faster than conventional methods while being just 1/10th of the cost.Work on Mako started in 2017, with the missile now at readiness level six plus, meaning it is ready for production. Weighing 1,300 pounds, it has been externally fit-checked on F-35, F/A-18, F-16, F-15, and P-8 aircraft, with internal fit-checking completed on the F-22 and F-35C fighters. Its solid rocket motor (SRM) can accelerate Mako to Mach 5.Who won the 2024 3D Printing Industry Awards?All the news from Formnext 2024.Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news.You can also follow us on X, like our Facebook page, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content.Featured image shows an Ursa Major SRM being tested. Photo via Ursa Major.

Tiffany & Co. Store in Stuttgart | Gionata Xerra StudioTiffany & Co. has unveiled its newly redesigned store faade in Stuttgarts Dorotheen Quartier, a project crafted by the Dutch architecture firm MVRDV. The faade, adorned with iridescent ceramic diamonds, reflects Tiffanys iconic elegance and innovation. Positioned in one of Stuttgarts most vibrant retail districts, this project exemplifies the seamless fusion of branding and architectural artistry, transforming a retail storefront into a striking urban statement.Tiffany & Co. Store Technical InformationArchitects1-5: MVRDVLocation: Stuttgart, GermanyClient: Tiffany & Co.Area: 165 m2 | 1,760 Sq. Ft.Project Year: 2022 2024Photographs: Gionata Xerra StudioIn our faade design for the Stuttgart store, we tried to capture the sense of wonder and enchantment that has characterised the world of Tiffany & Co. ever since its inception. Jacob van Rijs, MVRDV founding partnerTiffany & Co. Store Photographs Gionata Xerra Studio Gionata Xerra Studio Gionata Xerra Studio Gionata Xerra Studio Gionata Xerra StudioTiffany & Co. Store Design PrinciplesThe brands rich heritage deeply inspired MVRDVs design principles for the Tiffany faade. The designers reimagined Tiffanys penchant for material innovation by incorporating hand-crafted ceramic diamonds, echoing the patented Favrile Glass developed by Louis Comfort Tiffany in 1894. This historic connection underscores the interplay between timelessness and modernity.Central to the design is the three-dimensionality of the faade. The diamond-shaped ceramic elements embody the precision and tactility of Tiffanys jewelry, while their iridescent sheen captures the brilliance of a cut gemstone. These principles culminate in a faade that is visually captivating and rich narrative, drawing on the refined geometry of diamond cuts and the transformative nature of light.The dynamic aesthetic of the faade is a defining feature. The iridescent glaze applied to the ceramic diamonds shifts with lighting conditions and viewing angles, creating a sense of movement and vibrancy. This quality mirrors the multifaceted brilliance of Tiffanys jewelry, inviting viewers to experience the store as a living, evolving showcase.Execution: Craftsmanship and TechniquesThe execution of the Stuttgart faade showcases MVRDVs commitment to precision and innovation. Comprising 2,829 hand-crafted ceramic diamonds, the faade employs a gradient of Tiffanys signature robins-egg blue transitioning to pristine white. This careful color transition captures the eye while harmonizing with the subdued tones of the Dorotheen Quartier.Each diamond was created using a slip-casting method, a meticulous process by Koninklijke Tichelaar, the Netherlands oldest ceramics manufacturer. The iridescent glaze, developed collaboratively with MVRDV, incorporates intentional variations in mineral composition and glazing temperatures. This technique produces a naturalistic sheen reminiscent of Favrile Glass, offering a contemporary reinterpretation of Tiffanys material legacy.Structural ingenuity is another hallmark of this design. The ceramic diamonds are mounted directly onto a glass storefront using custom steel fixings, creating the illusion of floating elements. This interplay of transparency and opacity enhances the faades aesthetic and serves functional purposes, providing visibility into the store while maintaining privacy in strategic areas. The dissolving density of the diamonds at corners and around displays further enriches the viewers experience.A Jewel in Stuttgarts Urban FabricMVRDVs faade for Tiffany & Co. is more than a visual spectacle; it is an architectural statement harmonizing with its urban context. The faades gradient coloring and meticulous detailing integrate seamlessly with the neutral tones of Dorotheen Quartier, ensuring that the design stands out without overwhelming its surroundings.From an architectural perspective, the faade exemplifies how branding can inform design without overshadowing it. The interplay of iridescent ceramics and light captures Tiffanys legacy while celebrating the craft of architecture. This project exemplifies the potential of material innovation in retail architecture, presenting a tactile narrative that resonates with both the brands ethos and the architectural language of the 21st century.Handcrafted ceramics and dynamic glazing techniques elevate the faade beyond mere aesthetics. It demonstrates how thoughtful design can create a sensory experience. Moreover, the project contributes to broader architectural discourse by exploring how traditional craftsmanship can coexist with cutting-edge design.Tiffany & Co. Store Image GalleryAbout Jacob van RijsJacob van Rijs, a founding partner of MVRDV, is a celebrated Dutch architect known for his innovative and experimental approach to design. Educated at Delft University of Technology, van Rijs co-founded MVRDV in 1993 alongside Winy Maas and Nathalie de Vries. His work is characterized by its bold aesthetics, sustainability, and integration of technology, often challenging traditional architectural norms. With projects ranging from urban planning to iconic retail designs, van Rijs contributions to architecture have garnered international acclaim, cementing his reputation as a visionary in contemporary design.Notes & Additional CreditsFounding Partner in Charge: Jacob van RijsDesign Team: Aser Gimnez Ortega, Elien Deceuninck, Monica Di Salvo, Simone Costa, Natalia Lipczuk, Basak Gunalp, Tatiana GurduzaCeramics Partner: Koninklijke Tichelaar MakkumContractor: SOMEC Mestieri GroupLighting Design: METIS Lighting

Mavis Wiggins, managing executive and global workplace creative director at TPG Architecture, has announced she will retire from the New York Citybased design firm in January 2025. This milestone will conclude a more than four-decades-long professional career, throughout which Wiggins has been celebrated as an illustrious leader, daring creative, and dedicated client steward. I just love the work we as designers get to do, said Wiggins. We are so passionate and committed to making experiences better wherever and however we can. This profession has allowed me to grow in ways I couldnt have imagined, first as a young person joining the community, and still now. So much you continue to learn once you realize the power of what you offer is a window into the possible.Wigginss attentive ear, inspired eye, and collaborative touch have built an industry-defining legacy. Her passion for design and its power to transform the human experience is evident across her prolific portfolioa dynamic body of work that spans financial services, hospitality, media, and entertainment, as well as workplaces for consumer brands. During her 14-year tenure at TPG Architecture, her team has brought to life countless award-winning spaces in many of New York Citys most iconic towers, including the Seagram Building and One Vanderbilt Tower.It has been both a privilege and a pleasure to build a profession around invigorating the spaces we live, work, and play in, said Wiggins. There werent many women in the industry who looked like me, particularly in the corporate design world, and I am proud to have been part of the movement toward greater diversity and inclusion. I will continue to make that my mission as I make this transition. Representation, inclusion, and collaboration are key to good designto creating spaces that inspire and empower people to thrive and grow. Often, the most rewarding outcome is one where people experience the positive influence of design without realizing it. Throughout her career, Wiggins brought an avant-garde approach to design that honors each clients unique vision, listening to their concerns and addressing their needs to bring their ideal space to life. From her successful interpretation of a challenging, multi-directional brief for HBOs Santa Monica Headquarters to her award-winning program for a prominent quantitative asset management group, her guiding hand has transformed workplaces across industries. Wiggins skillfully translated each companys culture and founding principles, capturing the essence of firms like BDT, MSD, DZ Bank, Heidrick & Struggles, IEX Group, Lexington Partners, Assured Guaranty, and SwissRe.Wigginss far-reaching influence has been recognized on numerous occasions, including at IIDAs 2018 Leaders Breakfast and the St. Francis Food Pantries Shelterss 2019 Women of Valor Awards. The following year, she was selected as Interior Designs Best Interior Designer: Corporate Interiors. In 2021, Wiggins was inducted into the IIDA College of Fellowsthe highest honor given by the IIDA to its professional membersand in 2022, Interior Designs Hall of Fame, which recognizes those who have contributed to the growth and prominence of the interior design field. Wiggins has used this platform to inspire creativity and innovation within her studio and encourage young BIPOC designers to pursue their career aspirationssomething she plans to continue in retirement.This may mark the end of my formal career, but its not a goodbye, said Wiggins. I cant imagine a life without creativity, and I look forward to exploring what that looks like as I take this next step. I am eager to remain active in the design community and continue finding opportunities to expose the next generation to the power of design, particularly in underprivileged communities, with greater concentration. You havent heard the last from me yet!We are deeply grateful for Maviss contributions to the development of our practice, said Jim Phillips, founding partner at TPG Architecture. She has been a driving force in establishingTPGs reputation as a distinguished design firm. Her guidance has been an incredible source of inspiration for our younger staff, who admire her as both a mentor and a role model. We wish her all the best in this next chapter and extend our heartfelt thanks for her years of dedicated service and the enormous impact shes had on our team and our work.

To say that 2024 was bumpy would be an understatement. This year, we saw a mercurial U.S. presidential election conclude that many say could have disastrous consequences for the environment, as climate deniers and CEOs are likely to fill important cabinet positions. (Elon Musk, it seems, is now the countrys top Iran adviser?) We also saw heart-wrenching, unspeakable scenes of death and displacement unfold in Palestine, Sudan, Haiti, and Ukraine. We learned too about a mind-boggling number of worker deaths in Saudi Arabia. A number of more bureaucratic controversies played out in the U.S. as well. The AIA Board of Directors issued an alert not long ago that a coup may have been unfolding against its current leadership. (There were also embittered disputes between NAAB, AIA, ACSA, NCARB, and AIAS over many issues.) But the mess didnt stop there. What follows are some of the biggest controversies AN covered in 2024.Tom Pritzker of the Pritzker Architecture Prize named in Epstein-Maxwell court documentsThe year started off with a bang when highly anticipated courtroom evidence was declassified and shared with the public just a few days into the new year. The Epstein-Maxwell court document was a cumbersome 943-page tome that contained all of Jeffrey Epstein and Ghislaine Maxwells dastardly deeds. To no surprise, many of the worlds rich and powerful were implicated, including Les Wexner, who bankrolled a famous building from 1989 designed by Peter Eisenman at Ohio State University. Tom Pritzker, the hotel scion who annually awards the Pritzker Architecture Prize, was also named in the Epstein-Maxwell docket. Today, Pritzker stands accused of sexual allegations by Virginia RobertsGiuffre, a victim of Epstein and Maxwells sex trafficking syndicate. A spokesperson for Pritzker subsequently denied Giuffres claims, and the case is ongoing. Wexner has also been accused of sexual allegations by Giuffre.Neri Oxman accused of plagiarism amid Claudine Gay falloutIn January, the U.S. watched Ivy League university presidents get grilled in congressional hearings, resulting in numerous resignations. Perhaps the most intense exchange was between former Harvard president Claudine Gay and ultra-conservative house representative Elise Stefanik.Gay was accused by Stefanik of anti-Semitism, and not doing enough to stymie student protests for Palestine in Cambridge.At the movements vanguard to depose Gay was billionaire Bill Ackman, the husband of architect Neri Oxman.Ackman and comrades teamed up and tried bullying Gay into resigning, Harvards first Black woman president; they also accused her of plagiarizing her PhD. In the days after Gay resigned, Oxman was accused of plagiarizing her own PhD. The allegations against Oxman were ironic, given the tirades her husband launched against Gay for the same reasons. Oxman later issued a lengthy response to the allegations made against her on social media.On May 21, students from the Cooper Unions Irwin S. Chanin School of Architecture protested the administrations decision to close the annual End of Year Show to the public by moving models outside, draping work in black veils, and ultimately moving the thesis showcase off-campus to the Clemente Soto Vlez Cultural & Educational Center in the East Village. (Elisa Iturbe)Architecture students and faculty join campus protests in solidarity with PalestineWhile the drama was playing out between Stefanik, Gay, and Ackman, thousands of students and faculty members at schools around the U.S. built encampments in solidarity with Palestine. Many of these participants were architecture students and faculty.Students at Yale built a pop-up library (that was swiftly taken down) stocked with anti-colonial literature outside the Beinecke Library. Later, Cooper Union students moved their end of year show off campus to the Clemente Center to protest a decision made by the schools president, and Harvard GSDs student government passed a resolution calling upon the institution to divest from Israeli companies. Columbia GSAPP and Cooper Union students also teamed up for an exhibition at a83, calling out school administrators for crushing freedom of speech. This all played out as pro-Palestine academics faced looming threats to their job security and personal safety, as described in an op-ed for AN by Cruz Garcia.Former Washington University professor Michael Allen was suspended by that schools administration for his alleged involvement in a campus protest. Samia Henni even received a death threat at ETH Zurich for her politics.AI-generated renderings show skyscrapers, solar fields, water desalination plants, a new high speed rail corridor, and oil rigs off of Gazas shoreline. (Courtesy Israel PMO)Dystopian master plan posits new rail connection between Gaza and NEOMIn May, journalists got their hands on a short pdf. document containing plans from Israel Prime Minister Benjamin Netanyahus administration for Gaza. On May 3, Netanyahu unveiledGaza 2035: A three-stepmaster plan to build what he called the Gaza-Arish-Sderot Free Trade Zone. The plan was first reported by The Jerusalem Postand later byAl Jazeera.Gaza 2035 was a regional plan to build a new high-tech city stocked with flashy skyscrapers atop the rubble of Gaza. It posited oil tankers off of the shoreline, prompting environmental journalist Yessenia Funes to say This genocide is about oil. Plan drawings also showed a new rail connection between Gaza and the city underway in northwest Saudi Arabia, NEOM, getting built about 130 miles south of Rafah.The regional plan was swiftly met with opposition. On May 16, UAE Foreign Minister Sheikh Abdullah bin Zayed Al Nahyan condemned the planin a public statement. Lara Elborno, a Palestinian-American human rights lawyer,said on social media: Israels plan to steal our gas and subject us to this dystopian future must be unequivocally opposed with urgency. Gaza is not nothing.ANs coverage of Gaza 2035 went viral, after someone on Instagram made a template for users to easily share the story. The article was viewed over 50,000 times. A documentary exposed 21,000 work-related deaths in Saudi ArabiaSaudi Vision 2030 is a multi-trillion dollar umbrella program that is transforming its host country. NEOM, the speculative city being designed by a long list of famous architects, is part of Saudi Vision 2030.A new documentary,Kingdom Uncovered: Inside Saudi Arabia, by ITV revealed that more than 21,000 Indian, Bangladeshi, and Nepalese workers died in Saudi Arabiasince 2017 working on various aspects of Saudi Vision 2030. And according toThe Hindustan Times, reports show that more than 100,000 people havedisappearedduring NEOMs construction.While some architecture offices have backed away from the project, many have not. According toreporting fromDezeenandThe Architects Journal, BIG, Zaha Hadid Architects, and OMA are still on the project. And so are UNStudio, Pei Cobb Freed & Partners, Gensler, Mark Foster Gage, HOK, Studio Fuksas, Oyler Wu Collaborative, Tom Wiscombe Architecture, and others. Protests mounted against a new stadium in Philadelphias ChinatownIn Philly, an ongoing saga over a proposed basketball stadium in the citys Chinatown continued into 2024, with tenacity. In February, an economic study concluded that if 76 Place, designed by Gensler, gets built, it could cost the region $1 billion. This report contradicted statements by the development team, who argued 76 Place would boost the local economy.Later, in September, tensions simmered, and many anti-stadium activists took to the streets. Afterward, Philadelphia 76ers officials said they were scouting alternative locations for a new basketball stadium, which many wrote off as a scare tactic. Philadelphia City Council is voting on the project this week.Tensions boiled in Connecticut over plans for Philip Johnson-designed home additionA lingering conversation about how to negotiate Philip Johnsons legacy touched down in Madison, Connecticut, this year. 6 Opening Hill Road is the former home of Emily Hall Tremaine, an art scion with Nazi ties. As an advisor at MoMA, Tremaine crossed paths with Johnson, and the two became friends. Later, Johnson designed an addition to Tremaines house, which a nonprofit now hopes to convert into a mixed-use cultural, educational, and residency center.The Tremaine Foundation, past members of The Glass House Museum, and Docomomo teamed up to garner support for the conversion. Meanwhile, Princeton professor V. Mitch McEwen and art writer Robert Preece raised grave concerns about the conversion, and its implications. In the letter, McEwen said the Tremaine Foundations proposal is not innocent and, if the application gets approved, the Tremaine estate could become a nationally recognized memorial to antiblack and antisemitic brutality, albeit a glamorous one. Things got heated at the AIAIn Washington, D.C. at AIA HQ, 2024 had its highs and lows. On April 4, twenty-three formerAIApresidents signed a letter recently addressed to AIA Board of Directors expressing their concerns related to finances and management, as well as potential misspending, nepotism, cronyism, and the pursuit of personal gain within AIA leadership.A local law firm was subsequently hired to look into the claims, which ultimately vindicated AIA CEO/Lakisha Woods of any wrongdoing. Then, inSeptember, AIA Board of Directors issued a statement to AIA members about how a concerted effort was underway to publicly discredit Woodss leadership, albeit without going into specifics.All of this was playing out while Terrence Ona, former general counsel to the AIA, was suing his former employer for damages. This December, Woods announced she will leave her role as AIA CEO/EVP in February 2025.Protesters projected words onto the wall of a building in Chelsea, Manhattan, expressing discontents with the Fulton Elliott-Chelsea demolition plan. (Avery J. Savage)Public housing residents in New York fight to save their homesA highly controversial demolition and privatization plan for public housing in Manhattans Chelsea neighborhood continues to entice debate and turmoil. AN first reported on the Fulton and Elliott-Chelsea (FEC) Houses Plan in August 2023, and its been a story weve watched closely ever since.In March, AN reported that the architects behind the project were PAU, COOKFOX, and ILA. This took us to a massive protest on the steps of New York City Hall last October, when NYCHA residents called for a screeching stop to the FEC Plan. Things got dicy when NYCHA residents claimed that they were being barred from community meetings about the FEC Plan.One of the most creative stunts to date was whenMore Art invited the Yes Men, a famous culture jamming activist group, and the Good Liars to infiltrate a gala dressed up as Related executives. This December, NYCHA residents, More Art, Save Section 9, and The Illuminator teamed up and cast anti-demolition messages on the side of a building to raise awareness about the project.Meanwhile, other NYCHA developments have been selected for PACT/RAD, including multiple buildings in the Lower East Side. NYCHA residents in Coney Island this year, however, voted against privatization. NAAB budgetary and governance restructuring proposal gets stiff pushback from AIA, AIAS, ACSA, and NCARBNAAB caught a lot of flak this year, for a number of reasons. Things first got dicy in 2022 when NAAB asked for a 47 percent funding increase from its collateral organizations. AIA, AIAS, ACSA, and NCARB rejected the plan, so NAAB went on the offensive and proposed charging schools directly for another income source.Under NAABs proposal, the 176 NAAB-accredited programs offered by 140higher learning institutionsin the U.S. and abroad would have to cover about one-third of NAABs annual operating budget for accreditation.Later, in December, NAAB got more criticism from prominent organizations that represent minority architects and architecture students for a proposed revision to the 2020 Conditions for Accreditation. The main concern shared by AIANY, NYCOBA-NOMA, and ACSA is the potential removal of Section 5.5 from the NAAB 2020 Conditions for Accreditation. Section 5.5 pertains to Supportive Environment/Social Equity, Diversity, and Inclusion. For AIANY, NYCOBA-NOMA, and ACSA, Section 5.5s removal is an affront to their shared Diversity, Equity, and Inclusion (DEI) initiatives.Berlin politicians propose new housing atop Tempelhofer FeldA newinternational architecture competition that asked designers to ideate housing atop Tempelhofer Feld sparked outrage in Berlin in November. The 940-acre green space about the size of Central Park is frequented by 200,000 people every week. A referendumwas passed in 2014 that was supposed to stymie new buildings on the former airfield, butGermanys ruling coalition made up of center-right (CDU) and center-left (SPD) parties is intent on developing the park to allegedly help quench thecapitals housing crisis.Today, opposition groups likeArchitects4THFhave teamed up with 100% Tempelhofer Feld Initiative to stop development from happening. The need for more housing in Berlin is real, opposition leaders say, but commodifying a beloved public utility isnt the right way to go about it.

Palestine has a long, long history of excellence in glass making which continues triumphantly into the present. Look no further for instance than the stunning glass works by Dima Srouji, and other Palestinian artists like those at Hebron Glass, which bend and warp the material in mind boggling fashion.Artists like Srouji, Hebron Glass, and others weave ancient glass techniques used by the Phoenicians to make contemporary, beautifully crafted objects that often double as political statements which pertain to Israeli occupation, loss, resistance, solidarity, and cultural memory. A trio of architects and musiciansTomoko Sauvage; and Elias Anastas and Yousef Anastas, cofounders of AAU Anastascarried this important legacy on their shoulders recently with a new immersive installation they built in northern France called Serpentine Bell.Elias Anastas and Yousef Anastas are both architects based in Bethlehem, Palestine, while Sauvage is a Japanese musician who lives in Paris. Serpentine Bell is sited in a sculpture garden in Reims, France, at the company headquarters of Ruinarta collaborative master plan recently completed by Sou Fujimoto, Christophe Gautrand, and Gwenal Nicolas.The art object is essentially one large bell made of 103 glass blown voussoirs. (Makoto Chill kubo)Serpentine Bell consists of a stone, steel, and sound systema clear manifestation of the design teams multifaceted skillset that combines architecture and music, and penchant for politics.Palestine is a meeting point of accumulated knowledge of civilizations, the trio said in a curatorial statement. Its rich and perpetuating history of material explorations in the field of glass and stone is the basis for this collaboration, which engages these materials in metaphorical and cross-productive contexts with a local history of sound, architecture and music emerging from peoples long standing life and work with the land with global implications. Through these materials, the installation speaks to the delicacy of matter, and the history of techniques, places, backgrounds, and contexts that form a global and interdependent solidarity network of knowledge, the artists continued. The organic, fluid, oscillating, fluctuating morphologies evoked by the encounter of water, stone, glass and sound are at the heart of the collaboration.Tomoko leaned upon her interest in water, bubbles, sound, and bowls for Serpentine Bell. (Makoto Chill kubo)The artwork glistens in the sunlight. (Makoto Chill kubo)The artwork can be understood as one large bell made of 103 glass blown voussoirs, set on a stone base, hoisted a few feet above the ground on three legs. Its just tall enough so that you can bend over, peak your head inside, and enjoy its kaleidoscopic interior. The stereotomic techniques Serpentine Bell employed derive from ongoing research on stone by AAU Anastasthe art, architecture, and media practice of Elias and Yousef Anastas. At AAU Anastas, the pair explores the potential for structural stone to reemerge in contemporary architecture, combining traditional craftsmanship and materials with modern construction techniques. They also operate a radio station, Radio Alhara, which has played an important role in current Palestinian resistance movements, namely the #SaveSheikhJarrah revolt in 2021.Likewise, Tomoko leaned upon her interest in water, bubbles, sound, and bowls for Serpentine Bell. The juxtaposition between glass and stone created a contrast between weightlessness and heaviness, opacity and transparency, emptiness and content.Serpentine Bell is just tall enough for visitors to step inside. (Makoto Chill kubo)Palestine being a meeting point of accumulated knowledge of civilizations, it has a long standing perpetuating history of material explorations, in particular in the field of glass and stone, the artists added. Paradoxicallyin view of the intentional isolation imposed by occupation forces in Palestineit is the extreme richness of know-hows of techniques anchored in Palestinian artisanship that allowed [the artists] to meet and contribute further to a global solidarity network.

A new host structure for an early extension by Foster Associates, Gianni Botsford Architects Hampstead home traverses multiple layers of architectural historyThis project was commended in the 2024 AR House awards. Read about the full shortlist hereIn 1967, after the demise of Team 4, Norman Foster set up Foster Associates with Wendy Cheesman, soon joined by Michael Hopkins. Oneof the practices first projects was theremodelling of a 19thcentury coach house tucked behind the carriage archway of a pub in Hampsteads South End Green, north London. Here, with the assistance ofproject architect Patty Hopkins, Foster lent an airy glass vestibule against the oldwalls to the south and sent out anaudaciously modern singlestorey extension to the east. In keeping with the spirit of the project, the Victorian cottage itself was modernismised by Foster Associates inside and out, with new metal framed windows and deornamentation ofdetailing. The house was completed in1968and went on to be lived in and byall accounts enjoyed by the original newspaper editor client for the best partofhalf a century.At the time of this project, Foster was alsoworking on designs for the worlds firstinflatable office building for an earlycomputer tech company in Hemel Hempstead. He was yet to meet Buckminster Fuller or face the American mentors famous question, How much does your building weigh, Mr Foster? But clearly legible in the garden extensions exposed latticework beams, raw blockwork flank walls and floortoceiling sliding windows are the lineages of Team 4s noble shed for Reliance Controls and the concrete, steel and glass house in Cornwall, Creek Vean (both 1965). In turn, the projects influence is traceable in the even more daring and totally seethrough glass architecture of the Hopkins own house round the corner, completed in 1976 nottomention the possibly millions of openplan, bifolddoored kitchen extensions constructed since.Fast forward to 2015, and the extended coach house was sold to a design enthusiast looking for a project, who appointed Londonbased Gianni Botsford Architects after competitive interviews with 10 or sopractices. I think we were the only oneswho did not arrive with a solution, explains Gianni Botsford, whosepractice has a track record of creating unexpected and expressive architecture inurban backland settings such as this, surrounded by other peoples bucolic gardens.Botsford has forged a concreteboned counterweight to Fosters featherlight extensionRetaining the Foster pavilion was alwayspart of the plan, but Botsfords feasibility studies and maquettes went on to explore a range of associated options, including building upwards from the extension andfull or partial retention ofthe original coach house and leanto. Intheend, the decision fell in favour ofdemolishing the lean-to structure and creating an entirely new host structure for the littleknown but historically important early Foster project perhaps not the easiest of architectural propositions.In a strikingly contrasting spirit, Botsfords approach to Reciprocal House owes more to psychogeography than to Fosters systems thinking, taking as it does the starting point of close observation of the experiential qualities ofthis particular hidden enclave of Hampstead, as well as memories of what went here before. The concreteboned counterweight to Fosters featherlight extension forged byBotsford echoes the mansard roof form ofthe Victorian coach house aswell asthe lines of Fosters leanto and is adroitly angled in response to tree canopies, outward views and dozens of potentially overlooking windows. The newwhole is anchored deeply in the earth,perhaps for the next 100 years.It was a little bit jarring, comments Botsford of the original notquite flow between old cottage and Eamesinflected openplan salon. Now, in contrast, a flipped and newly open kitchen and dining zone extends directly from a repositioned entrance, separated from the salon only bya run of kitchen counter and a weir ofthree concrete steps. Apart from the remaining exposed blockwork walls of the Foster extension, the new groundfloor envelope is almost entirely glazed, allowing the surrounding old garden boundary walls and fences, and crowding shrubs and trees,to read as the spaces enclosure bringing textured and shadowy depth of saturated colour to Botsfords recessive, almost ghostly, materiality of fairfaced concrete, aluminium and glass. A terrazzolike floor screed employing thesame local London aggregate as the shuttered concrete of the house provides auniting ground plane throughout the house. As well as relaying and insulating Foster Associates original floor slab, conservation work to the 1968 extension included adding insulation to the roof deck, replacing the original singleglazed windows with a Schuco system and reinforcing the exposedlatticebeams tobring them up to code.Originally completed by Foster Associates for the journalist and editor RonHall in 1968, the first renovation consisted of alean-to vestibule and single-storey extension (below) to an existing 19th-century coach house (above)Credit:Norman Foster Foundation ArchiveCredit: Archive photo courtesy of Gianni Botsford ArchitectsThe two upper floors of the new housestand on the table legs of four squaresection perimeter columns, supporting the slab from which the upper150mm poured concrete walls fold protectively in, as if capturing a moment ofboxing up (or unboxing). Below ground, a snug new basement level of auxiliary living space has been sunk 3m into theearth. This rooted space, with its blockworklined walls referencing Fosters above, is lit by daylight borrowed from lightwells and the mesh surface of the groundfloor car port.With no corridors and an absence ofconventional doors or partition walls, Reciprocal House relies on welljudged spatial zoning for hierarchy and privacy, assisted by banks of bespoke storage and fittings fashioned in finely perforated andtherefore not fully opaque aluminium. Bathrooms and cloakrooms, also odes toaluminium, are stacked by the house entrance to the west of the site a service slice separated via a generous front of house buffer zone of vertical circulation from the increasing seclusion of eastfacing bedrooms and the garden depths of the living space.Holepunched through the sum of thetwo living and two bedroom levels isacircular void through which an allaluminium staircase spirals towards agiant disc of sky. At basement level, thehouses single curtain of felted wool can beemployed to circumnavigate the stair footing for acoustic and visual separation. Usually these days, a stair suchas this would be craned into position as a single sculptural piece, but here accessrestrictions dictated design for assembly onsite, a fact now celebrated inrivets thatexpress the human graft ofsequential assembly.As well as providing daylight, the rain sensorcontrolled lantern is central to Reciprocal Houses passive environmental strategy, balancing stackeffect ventilation, thermalmass heatsinking and heat recovery, with the atmospheric shift that accompanies the opening or closing of oculus instantly palpable. Despite being insome ways theantithesis of systemised architecture, Reciprocal House is undeniably a finely tuned machine forliving in, with its electric glass (fedbyalowvolt current toretain its transparency), automatic blinds and mechanised sliding doors all providing privacy at the flick of a switch. Ithink Norman Foster would approve.Reciprocal House is undeniably a finely tuned machine for living inTo the outside world or at least as glimpsed through the archway on the street or perhaps from neighbouring windows, Reciprocal House presents something of an architectural brain teaser, a total oneoff, calling to mind a chatter ofassociations including mannerism, constructivism, even deconstructivism. The houses angled, oversailing planes ofperforated anodised aluminium, tinted in recessive brown to match the trunks ofadjacent trees, read as partsheltering, partflamboyant. In fact, the expressive sails (or shields or veils depending onyourmindset) serve a dual purpose asrainscreen cladding for the houses mansard concrete sections and as brisesoleil for its leanto glazing, apparently flying in the face of hightechs orthogonal rationality yet at the same timepaying homage to it.How much does your building weigh, MrBotsford? Probably a fair bit. But forall the monolithic concrete, moird aluminium and gizmos, the enduring impression of Reciprocal House remains one of otherworldly dappled light, tree canopies and birdsong.

EventsSettle In for Your Seasonal Viewing from BLAGSix hours of talks, interviews, studio visits, and demonstrations from contributors to BLAG 05.Better LettersDec 19, 2024 4 min readThe nine recordings from the BLAG Meet event on 9 November 2024.BLAG Meet is a free online event that gives you the opportunity to meet and hear from contributors to each issue of the magazine.Below you can catch up with the recordings from BLAG Meet: Inside Issue 05, which took place on Saturday, 9 November 2024. Thank you to all the contributors and attendees that took part across the day.Visit bl.ag/meet for details of the next BLAG Meet on Saturday, 26 April, and to access to recordings from other events in this series.Inside BLAG 05These videos go a bit deeper into a selection of the articles and features in BLAG 05, and there's even more in the issue's digital companion, with bonus videos, documents, and additional images.The SessionsThe recordings from the following sessions can be viewed below in order of appearance.Alice Mazzilli challenging the idea of 'bad' handwriting, and framing this within her Interowriting concept.Henrik and Pontus from Sthlm Signs walking through their recent large-scale sign and scenery work for Lolo Co.'s office, giving insights into the process from inspiration to execution.Derek McDonald talking about his return to full-time work at Golden West Sign Arts following his extended adventures in sign painting at Disneyland.Jess Marsh Wissemann of Hired Hand Signs sharing a selection of projects where she has thought outside the box and taken her sign designs in new directions by getting creative with shapes, dimensions, and the use of novel materials.Noel B. Weber sharing work and stories from his 50-year career in signs, which has run in parallel with the Letterheads movement.Roger Warsop at Retroline Signs on growing up with signwriting, and his experience of learning the craft in Australia, defying the advance of printing technology, hosting the recent Letterheads meet, and his thoughts on the future of hand-painted signs.Stephen Coles at Letterform Archive introducing the prolific and diverse output of Michael Doret, with a focus on his process and what makes him an interesting lettering artist. Includes a look at the new book, Growing Up in Alphabet City.Gustavo Ferrari expanding on his how-to for painting the horses of Fileteado Porteo.BLAG editor Sam Roberts sharing the simple technology of RSS as an alternative way to follow eachother outside of mainstream social media, with reference to the Dapper Signs blog.The RecordingsThis article is for subscribers only.Sign up for a free membership to unlock sign painting resources and the latest news.Subscribe nowAlready have an account? Sign in

Detail of Le Prsage, Metz, France (2023). All images courtesy of MonkeyBird, shared with permissionMonkeyBirds Majestic Murals Bend Time Through Elaborately Stenciled CompositionsDecember 19, 2024ArtGrace EbertFor more than a decade, French artists Louis Boidron and douard Egea have been collaborating as MonkeyBird (previously). The pair are known for their large-scale stenciled murals rich with symbolism, architectural structures, and elaborate motifs, many of which reach for timeless themes related to human emotion, experience, and the inevitability of change.The Arch of Peace is one of their most recent pieces and transforms the facade of an Aarhus building into a monumental homage to peace and justice. Commissioned for the 17 Walls Project, the mural draws on one of the United Nations Sustainable Development Goals to create a more inclusive and resilient future.The Arch Of Peace, Aarhus, Denmark (2024)The Universal Declaration of Human Rights, whose origins lie in France, served as our central inspiration, the artists shared. We reinterpreted the ornamental framework of the original engraving: angels, arches, and colonnades symbolize the moral pillars essential for stability in a constantly changing world.As is typical in a MonkeyBird mural, two anthropomorphized creatures donning robes stand at the center of the composition, guarding a library based on that of Trinity College Dublin. Their attributes of power and intellect take on true meaning only when guided by reason and ethics, the artists add.Similarly mythic and majestic figures appear in a pair of murals in Fontainebleau and Metz, France, the latter of which features an avian creature holding an hourglass high in the air. Titled Le Prsage, or The Omen, the piece directly points to the artists interest in the passage of time and collapsing the boundaries between past, present, and future.In February, the pair will join the Montgomery Art Project in Alabama to create a mural and immersive installation of their papercuts. If youre local, keep an eye out for opportunities to participate in one of MonkeyBirds workshops, which will engage the community in cutting their stencils and creating public paste-ups. Until then, pick up a print in their shop, and follow their latest projects on Instagram.Le Prsage, Metz, France (2023)Detail of The Arch Of Peace, Aarhus, Denmark (2024)Fontainebleau, France (2023)Aubervilliers, France (2022)Fontainebleau, France (2023)Fontainebleau, France (2023)Fontainebleau, France (2023)Next article

Healing Blossom (2023). Photos by Pearl Sijmons, courtesy of the artist, shared with permissionCoiled Fishing Rope Sculptures by Joana Schneider Twist Organic Shapes into Otherworldly FormsDecember 19, 2024ArtGrace EbertWhen Joana Schneider moved to The Hague, she began to visit the beach regularly. Having spent her childhood in Munich, the sea was a novel and a fruitful source of inspiration. Soon, the fishermen working in the harbor caught her eye.There was something so intriguing about their world, which seemed to straddle this line between rugged labor and delicate artistry, Schneider tells Colossal. They were using knotting techniques, traditionally seen as feminine and delicate, but on a much larger scale, with heavy-duty ropes.Shine On You Crazy Diamond (2024)The artist quickly connected what the anglers created with the traditions of textile art and began to source their leftover rope. Now based on KNSM Island in Amsterdam, Schneider continues to utilize the mariner material in her large-scale sculptures. I spend days untangling the nets before I can start working with them. Then, I dry the ropes in the sun, which gives them this oceanic scent, she adds.Once desiccated, the materials often become the structure for thin, colorful yarn the artist wraps around the strands. The finished works are sometimes abstract and others boldly figurative, portraying exaggerated facial features in coiled, hand-stitched patchwork.The process is labor-intensive, but the slow, methodical movements are part of what Schneider is drawn to. Each turn of the yarn around the rope is a quiet, focused act. There is something very grounding about it. The rhythm of wrapping, the gentle tension of the yarn, and the soft texture of the fibers create a peaceful space where the world outside seems to fade away, she says. The resulting works retain evidence of this meticulous process as coils large and small swell outward in perfectly concentric circles.Currently, Schneider is working toward a solo exhibition titled Otherworldly that will open in April at the Groniger Museum in The Netherlands. Blurring the line between the real and the fantastic, the project draws on the artists fascination with hybridity and includes a performative element, a harbinger of where her practice is headed. She shares:When I think of the natural world, I often think of the Renaissance tradition of grotesque art. It fascinates me how, in that period, artists mixed human, animal, and plant forms in intricate waysThe result is a hybrid environment that is at once familiar and alien. That is something I try to achieve in my work, a sense of wonder and a bit of disorientation as if stepping into a place where the boundaries of the natural world are deliberately blurred.Schneiders sculptures are currently on view at the FITE Textile Biennial in Clermont-Ferrand, France, and will be included in a 2025 group exhibition at Knig Galerie in Munich. Until then, find more of her work on her website and Instagram.Sugarfly (2024)Detail of Sugarfly (2024)Freckles (2022)Detail of Shine On You Crazy Diamond (2024)Light Child (2023)Detail of Light Child (2023)The Good Farmer (2023)Red and Blue Iris Wave series (2022). Photo by Pim TopPrevious articleNext article