here’s what you get — standard all-wheel drive, striking proportions, timeless and instantly recognizable design, and a perfect blend of performance with everyday usability.

offering three versions — the new taycan gts and taycan gts sport turismo charge the porsche electric driving experience with even more intense emotion.

[ vitals ]
driving range (epa estimate)
272 mi** (amci testing range) w/ performance battery plus

performance
155 mph top track speed (performance battery)
3.8 s 0 – 60 mph with launch control (performance battery)

charging
9.5 hrs charging time for alternating current (ac) with 9.6kw (0 to up to 100%) (performance battery)
93.0 min charging time for direct current (dc) with 50kw (5 to up to 80%) (performance battery)1)
22.5 min charging time for direct current (dc) with maximum charging power (5 to up to 80%) (performance battery)2)

motor
390 kw/522 hp ac permanent synchronous motors
79.2 kwh performance battery
8 year / 100,000 mile high voltage battery warranty

transmission
2-speed transmission on the rear axle
porsche traction management (ptm)
porsche recuperation management (prm)

instruments
16.8″ curved display for driver including external touchscreen control panels for lighting and chassis functions
center console with direct touch control

msrp
from $ 106,500

[ porsche taycan ]

above > saflex flysafe 3d

worldwide, billions of birds are killed as they collide with glass windows and building facades — so much so that many cities and countries now require bird-friendly glazing in new buildings.

in response to this global problem, eastman, in partnership with seen ag, has introduced a new polyvinyl butyral (pvb) interlayer for laminated glass: saflex flysafe 3d, a highly effective solution to avoid bird collisions without compromising on the view or beauty of glass facades.

unlike other bird-protection approaches that use decals, printing, or etching on the surface of the glass, saflex flysafe 3d features three-dimensional, reflective sequins between two layers of glass. the sequins catch the light at different angles, subtly twinkling to deter birds from the glass — something two-dimensional dots and stripes don’t do.

due to the 3d nature of the sequins, less coverage is required; the discreet sequin pattern covers less than 1% of the glass area. other solutions considered highly effective have at least five times the coverage and can be greater than 25%. and because the sequins are layered between glass, it is a long-lasting bird-protection solution.

“given the prevalence of glass in modern architecture, bird collisions are a global problem,” said heather singler, commercial director of eastman’s global architecture business. “too often, birds fail to see glass, or misjudge reflections — all leading to avoidable collisions. and we can indeed avoid these collisions. saflex flysafe 3d has proven to be highly effective as a bird collision deterrent.”

collision laboratories in hohenau-ringelsdorf, austria, have tested and rated the 3d-reflective technology used in saflex flysafe 3d. in both transmission and reflective testing, it is recognized in the industry and by ornithologists as one of the best — classified as highly effective, durable, and with better aesthetics. additionally, saflex flysafe 3d helps builders and building owners meet emerging regulations and certifications for bird protection, including securing leed sspc55 pilot credits for bird collision deterrence thanks to a threat factor of less than 10 from the american bird conservancy.

the minimal coverage of the bird-deterring sequins makes saflex flysafe 3d interlayers ideal for a variety of applications, including atriums, balustrades, cladding, curtain walls, exterior doors, facades, link bridges, podium glass, skylights and windows.

in addition to bird collision avoidance, saflex flysafe 3d interlayers can be combined with selective coatings and other saflex products to enhance glass further, giving it greater security, stability, acoustic control, solar control and protection from harmful uv rays.

“even if your municipality doesn’t require bird-friendly buildings, it’s the right thing to do,” singler said. “our experts can help you spec the right type of interlayer — or combination of interlayers —to meet your safety, structural and aesthetic goals while protecting countless birds without trade-offs in efficiency and surface coverage.”

to learn more about the benefits of saflex flysafe 3d interlayers and how they make glass construction safer for our feathered friends, visit saflex.com/flysafe.

founded in 1920, eastman is a global specialty materials company that produces a broad range of products found in items people use every day. with the purpose of enhancing the quality of life in a material way, eastman works with customers to deliver innovative products and solutions while maintaining a commitment to safety and sustainability. the company’s innovation-driven growth model takes advantage of world-class technology platforms, deep customer engagement, and differentiated application development to grow its leading positions in attractive end markets such as transportation, building and construction, and consumables. as a globally inclusive and diverse company, eastman employs approximately 14,000 people around the world and serves customers in more than 100 countries. the company had 2021 revenues of approximately $10.5 billion and is headquartered in kingsport, tennessee, usa. note: mark may 14 in you calendar as it’s [ world migratory bird day ]

the idea for the domus trimaran concept started from a simple question: why not?

‘just because superyachts are what they are now, it does not mean they should stay this way.(…) we were constantly looking at every aspect of the design and saying, ‘i know we do it this way normally but is there a better way?’ the designers share. ‘therefore, we truly believe that this project will redefine what a multi-hull sailing superyacht can be.’ they add.

after calculating the smallest vessel size that can host a one-floor layout without it being too bulky, the designers started forming domus as an amalgamation of different innovative ideas. domus is a perfect example of a unique design combination of solar power, hydro regeneration and hydrogen fuel cells that give the concept unlimited range with zero emissions. prioritizing speed, space, and sustainability, the domus concept aspires to become the first-ever truly zero-emissions superyacht.

above> the top deck allows for solar panels to supply the battery bank with all the necessary energy during the night

above/below> while sailing, the windward hull will come out of the water reducing the drag through the water resulting in more speed

all photos courtesy of domus trimaran.

rob doyle design focused on naval architecture, performance, and structural feasibilities, while van geest design developed the layouts and styling.

“the beginning is the most important part of the work.” – plato

all of us are really wanting a fresh new year! this video made in 2019 by tbwa/paris for the national society of french railways (sncf) captures what our mind’s eye was seeking: a celebration of new life, a feeling of hope and optimism. may all your plans bloom and blossom beyond your wildest dreams.

the video was a way for the sncf to give thanks to those “preserving the planet” by traveling by train. according to the sncf, trains give off 30 times less co2 than individual cars and 20 times less than planes. thus, the national railway body is positioning itself as a healthy alternative to other modes of transport.

to illustrate this sentiment, the successive blooming of flowers – a time lapse that covers 200 hours. to capture each one of the 50 varieties included, every flower was photographed once every five seconds, day and night, which accumulated in 14,000 images per flower.

in the film, every flower that blooms is accompanied by the wheezing bang of fireworks, to illustrate the celebratory nature of the campaign. the sncp aims to transition from diesel-powered rail to developing stations that are autonomously powered by 2035.

#hello2023

civic architect, urban planner and activist, sir david alan chipperfield has been selected as the 2023 laureate of the pritzker architecture prize, the award that is regarded internationally as architecture’s highest honor.

truly a man for all reasons. whether it’s a museum, a spoon or a lounge chair, either modern or traditional, his effort is subtle yet powerful, subdued yet elegant, he is a prolific architect and designer who is radical in his restraint, demonstrating his reverence for history and culture while honoring the preexisting built and natural environments, as he reimagines functionality and accessibility of new buildings, renovations and restorations through timeless modern design that confronts climate urgencies, transforms social relationships and reinvigorates cities.

“i am so overwhelmed to receive this extraordinary honour and to be associated with the previous recipients who have all given so much inspiration to the profession,” remarks chipperfield. “i take this award as an encouragement to continue to direct my attention not only to the substance of architecture and its meaning but also to the contribution that we can make as architects to address the existential challenges of climate change and societal inequality. we know that, as architects, we can have a more prominent and engaged role in creating not only a more beautiful world but a fairer and more sustainable one too. we must rise to this challenge and help inspire the next generation to embrace this responsibility with vision and courage.”

above> procuratie vecchie, photo courtesy of richard davies // below> procuratie vecchie, photo courtesy of alessandra chemollo

above/below> royal academy of arts masterplan, photo courtesy of simon menges

above> royal academy of arts masterplan, photo courtesy of the royal academy of arts

above/below> amorepacific headquarters, photo courtesy of noshe

above> amorepacific headquarters, photo courtesy of noshe

above/below> america’s cup building ‘veles e vents,’ photo courtesy of christian richters

above> america’s cup building ‘veles e vents,’ photo courtesy of christian richters

above/below> the hepworth wakefield, photo courtesy of iwan baan

above/below> saint louis art museum, photo courtesy of simon menges

above/below> james-simon-galerie, photo courtesy of ute zscharnt

above/below> inagawa cemetery chapel and visitor center, photo courtesy of keiko sasaoka

above> inagawa cemetery chapel and visitor center, photo courtesy of keiko sasaoka

above/below> river and rowing museum, photo courtesy of richard bryant / arcaid

[ about the prize ]
to honor a living architect or architects whose built work demonstrates a combination of those qualities of talent, vision, and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture.

the international prize, which is awarded each year to a living architect/s for significant achievement, was established by the pritzker family of chicago through their hyatt foundation in 1979. it is granted annually and is often referred to as “architecture’s nobel” and “the profession’s highest honor.”

the award consists of $100,000 (us) and a bronze medallion. the award is conferred on the laureate/s at a ceremony held at an architecturally significant site throughout the world.

jay and cindy pritzker believed that a meaningful prize would encourage and stimulate not only a greater public awareness of buildings but also would inspire greater creativity within the architectural profession.

the prize takes its name from the pritzker family, whose international business interests are headquartered in chicago. their name is synonymous with hyatt hotels located throughout the world. the pritzkers have long been known for their support of educational, scientific, medical, and cultural activities. jay a. pritzker, (1922-1999), founded the prize with his wife, cindy. his eldest son, tom pritzker, the chairman and president of hyatt foundation, explains, “as native chicagoans, it’s not surprising that our family was keenly aware of architecture, living in the birthplace of the skyscraper, a city filled with buildings designed by architectural legends such as louis sullivan, frank lloyd wright, mies van der rohe, and many others.”

he continues, “in 1967, we acquired an unfinished building which was to become the hyatt regency atlanta. its soaring atrium was wildly successful and became the signature piece of our hotels around the world. it was immediately apparent that this design had a pronounced effect on the mood of our guests and attitude of our employees. while the architecture of chicago made us cognizant of the art of architecture, our work with designing and building hotels made us aware of the impact architecture could have on human behavior. so in 1978, when we were approached with the idea of honoring living architects, we were responsive. mom and dad (cindy and the late jay a. pritzker) believed that a meaningful prize would encourage and stimulate not only a greater public awareness of buildings but also would inspire greater creativity within the architectural profession.”

many of the procedures and rewards of the pritzker prize are modeled after the nobel prize. laureates of the pritzker architecture prize receive a $100,000 grant, a formal citation certificate, and since 1987, a bronze medallion. prior to that year, a limited edition henry moore sculpture was presented to each laureate.

[ sir david chipperfield awarded pritzker architecture prize ]

above> self-portrait / zanele muholi / southern guild (cape town) booth #217

note: this post in ‘in-progress’ as we await more details…

more than 140 leading art galleries from 65 cities in 25 countries show off their stable of talent at expo chicago 2022 which is the perfect confabulation and launchpad to contemplate what inspires the art. in this instance, DesignApplause submits that architecture, design, and engineering are one and the same and art is not.

> “what is the difference between art and design? as it applies to graphic design, i will say that the difference between art and design or artist and designers, is expression vs communication. … expression is about the artist and their view, design is about the audience and viewer. expression can be abstract and intangible but design has to be clear for the most part.” ~ anonymous

> “when one attempts to define art, there will be an artist to prove it wrong. ‘art is beautiful’ art becomes ugly. ‘art is emotional’ art becomes emotionless. ‘art is form’ art becomes idea. that’s the problem, art will always shatter definitions.

having said that, i will ignore my own advice and take a crack. i think it comes down to function. design can have many functions, whereas art has one single function. the function of art. digging deeper, the art concept can be portrayed in many different ways. the function of art isn’t singular, its endless.

so design is applied art? or maybe an eames chair is a design object when you’re trying to sell it or sit in it, and an art object when you’re observing it, etc. ~ anonymous

DesignApplause asked galleries if their artists in this show pursued any architectural or design studies in their background. 15 of 30 (50%) galleries point out the following:

southern guild will exhibit at expo chicago for the first time this april, presenting ceramics, sculpture, paintings and wall reliefs by leading artists from across the african continent. these include zanele muholi (south africa), zizipho poswa (south africa), andile dyalvane (south africa), oluseye (nigeria/canada), kamyar bineshtarigh (iran/south africa), patrick bongoy (drc), dominique zinkpè (benin) and stanislaw trzebinski (kenya). rich in materiality and divergent in form, the works in southern guild’s presentation speak of the ingenuity of the human hand and the labour-intensive processes that elevate the prosaic to the sublime.

a highlight of the gallery’s booth will be a large bronze self-portrait by acclaimed artist and visual activist zanele muholi, whose solo exhibition opens at southern guild’s cape town gallery in may 2023. the sculpture represents the artist’s departure from an exclusively photographic oeuvre into a broader, multidisciplinary practice. the booth will also feature two large-scale ceramic and bronze sculptures from zizipho poswa’s critically acclaimed recent solo, ubuhle bokhokho, inspired by the hairstyles traditionally worn by black women across the continent, as well as recent works by andile dyalvane, madoda fani and chuma maweni – all regarded as foremost ceramicists in africa.

anchoring the booth will be an expansive and tactile palimpsest by iranian artist kamyar bineshtarigh effaced from the wall of his studio building – a layering of marks, traces and textures accumulated over two years. central to the artist’s visual lexicon is the explorative use of farsi script and calligraphy that pivots around memory and place, revealing the intricacies of transliteration. southern guild’s booth will also include new paintings by cape town-based artist manyaku mashilo that draw inspiration from historical photographic archives to build self-determined mythological scenes where imagined embodiments of blackness migrate through abstract liminal spaces. in addition, the gallery will present bronze and hand-blown glass sculptures from kenyan artist stanislaw trzebinski’s 2022 solo, solastalgia, that imagine the potent and surreal future of a decimated earth after the extinction of humans.

what makes this gallery unusual but all artists of have studied design.

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above> memphis vase / ettore sottsass / alan koppel gallery (chicago) booth #245 / 1992

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above> untitled / alberto biasi / dep art gallery (milan) booth #400

alberto biasi is one of the protagonists of post-war italian art, as well as one of the founders of the historic gruppo n. after the loss of his mother, he spent part of his childhood with his paternal grandmother in carrara san giorgio, a small town in the province of padua. biasi returned to his hometown at the end of world war ii, and attended classical high school. he later enrolled in the department of architecture at the university of venice, as well as, in a top-level industrial design course. upon the completion of his studies, in 1958 he began teaching drawing and art history at a public school. from 1969 to 1988, biasi served as professor of advertising graphic arts at the professional institute in padua.

in 1959, he participated in various youthful artistic events and with some peers students of architecture formed the enne-a group. in 1960, he exhibited with enrico castellani, piero manzoni, agostino bonalumi and other european artists at the galleria azimut in milan. also in 1960, during a period characterized by the spirit of innovation and experimentation, he formed gruppo n in close collaboration with manfredo massironi. the following year, he joined the movement “nuove tendenze” (“new trends”). in 1962, as gruppo n, he exhibited with bruno munari, enzo mari and milan’s gruppo t in the first programmed art exhibition at the negozio olivetti in milan.

during this period, especially between 1959 and 1960, biasi created the trame, rectangular and permeable objects, where modularity has optical-kinetic implications in relationship between light and the shifting of a person’s gaze. shortly after the realization of the trame series came another important work: namely, rilievi ottico-dinamici, overlapping lamellar structures in contrasting colors that spark special visual effects. always during the 1960s, he produced the torsioni series with the use of mostly bicolor lamelle, used to generate optical dynamism through different observer viewpoints, and his ambienti pieces. he also realized light prisms, which he designed in 1962 and were transferred to environmental dimensions in 1969.

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above> various / rodrigo valensuela / asya geisber gallery (new york) booth #473

rodrigo valenzuela works across photography, video, and installation, merging his interest in art history, architecture, the concept of work, and the realities of laborers. valenzuela builds scenes in his studio, often working with simple building materials such as cinder blocks, pipes, wooden palettes, corrugated metal, and two-by-fours. the resulting monochrome photographs constantly shift between flatness and architectural space, and between documentary photography and fiction, encouraging an incessant yet pleasurable tension. his compositions resemble miniature ruins built from studio detritus, and are documentative of the artist’s performance in the studio. simultaneously, they clearly reference certain modernist masters – be it abstract-expressionist painters or minimalist sculptors – as well as latin-american brutalist architecture.

rodrigo valenzuela (b. santiago, chile 1982) lives and work in los angeles, ca, where he is an assistant professor and head of the photography department at ucla. valenzuela is the recipient of the 2021 guggenheim fellowship in photography and smithsonian artist research fellowship. he has received the joan mitchell award, art matters foundation grant, and artist trust innovators award. recent solo exhibitions include screen series at the new museum, ny (2019), lisa kandlhofer galerie, vienna, au (2018), work in its place, jordan schnitzer museum of art, eugene (2018); american-type, orange county museum (2018); labor standards, portland art museum (2018); future ruins, frye art museum, seattle (2015). recent residencies include the core fellowship at the museum of fine arts, houston, tx, skowhegan school of painting and sculpture, me, macdowell colony, nh, bemis center for contemporary arts, ne, lightwork, syracuse, ny, and the center for photography at woodstock, ny.

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above> lithostatic / farah salem / hyde park artcenter (chicago / lisbon) booth #453 / 2022

the hyde park art center is proud to present a micro-exhibition of works by regina agu and farah salem that reflect on the relationship between geography, the body, and the histories and traditions embedded in landscapes. salem’s most recent multimedia installations trace relationships between land and ancestral healing practices. informed by her profession as an art therapist and counselor applying somatic-based therapies for trauma healing, research and experiments with movement-based and musical traditions from the arabian peninsula, salem’s practice explores the potential erasure of socio-cultural conditioning that influences and distorts shared realities. salem studied graphic design.

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above> karen knorr / sundaram tagore gallery (new york) booth #209

american/british artist and activist karen knorr (b. 1954) is known for her sumptuous, conceptually driven photographs that employ opulent palaces, museums and temples of western europe and asia to frame issues of power rooted in cultural heritage.

knorr was born to american parents in frankfurt, germany, and raised in san juan, puerto rico. she studied art in paris and london, where she eventually settled in 1976 and still lives today. her multi-cultural upbringing was deeply influential, especially in the formative years of her career when she used photography to make sense of her world as a young puerto rican american assimilating to life in london. her experience as an outsider is part of what sparked her longtime interest in exploring issues surrounding culture and society.

knorr was also inspired by the artistic practices of friends and contemporaries, including photographers bill brandt, bill owens and diane arbus, as well as conceptual artists michael asher, martha rosler, andrea fraser and hans haacke, one of the leading proponents of institutional critique. in the 1970s, knorr studied under noted photographer eileen cowin and artist victor burgin, who opened her eyes to new ways of critically engaging with photography and its relationship to institutions and heritage.

over the course of her career, knorr has used video and photography as a method of critical inquest. her work has consistently examined the meaning of place, often drawing from folklore, myths and allegories to express contemporary ideas. more recently, her titles reference historic works of literature, such as aesop’s fables, the poems of ovid and ancient epics from india, including the rāmāyana, the mahābhārata and the panchatantra.

knorr uses this layered storytelling approach to distance herself from more literal documentary photography. lush, playful and spectacularly colorful, her images of exotic animals digitally fused into grand architectural settings are as aesthetically thrilling as they are thought-provoking. knorr’s work resides almost exclusively in place and space.

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above> pimba agida lll / remy jungerman / fridman gallery (new york) booth #276 / 2020

in his work, remy jungerman explores the intersection of pattern and symbol in surinamese maroon culture, the larger african diaspora, and 20th century “modernism.” in bringing seemingly disparate visual languages into conversation, jungerman’s work challenges the established art historical canon. as art and culture critic greg tate has remarked “jungerman’s work leaps boldly and adroitly into the epistemological gap between culturally confident maroon self-knowledge and the dutch learning curve around all things jungerman, afropean and eurocentric.”

born and raised in suriname, he is a descendant, on his mother’s side, of the surinamese maroons who escaped enslavement on dutch plantations to establish self-governed communities in the surinamese rainforest. within their rich culture, many west-african influences are preserved including the prominent use of abstract geometrical patterns. placing fragments of maroon textiles, as well other materials found in the african diaspora such as the kaolin clay used in many african religious traditions or the nails featured in nkisi nkondi power sculpture, in direct contact with materials and imagery drawn from more “established” art traditions, jungerman presents a peripheral vision that can enrich and inform our perspective on art history.

jungerman attended the academy for higher arts and cultural studies in paramaribo, suriname, before moving to amsterdam where he studied at the gerrit rietveld academy. jungerman studied architecture.

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entering its tenth year as a leading international art fair, expo chicago, the international exposition of contemporary and modern art will host more than 140 leading international exhibitors at expo chicago 2023 in navy pier’s festival hall, presented alongside one of the highest quality platforms for global contemporary art and culture. the exposition draws upon the city’s rich history as a vibrant international cultural destination, while engaging the region’s contemporary art community and collector base. the 2023 edition of expo chicago will present various programs and events throughout chicago during expo art week (april 10–16, 2023).

vernissage:
thursday, april 13 | 12:00noon – 6:00pm
by invitation only.

general admission:
friday, april 14 | 11:00am – 7:00pm
saturday, april 15 | 11:00am – 7:00pm
sunday, april 16 | 11:00am – 6:00pm

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above> the all-electric f-150 lightning

this article by associated press correspondent tom krisher may be the most dramatic automobile business model switch you have heard in your lifetime. article edited for brevity and clarity.

ford ceo, jim farley says the company will stop competing in over-served market segments and instead will place big bets on connected vehicles and digital services. the days of ford being all things to all people are over, farley said at the company’s capital markets day event.

the company he said has been “stuck in a box” with thin profit margins, weak growth and low stock valuations. ford will emphasize software and services as well as pickup trucks, large SUV’s, commercial vehicles and advanced second-generation electric vehicles, farley said.

for example, by the time ford rolls out a new version of the f-150 pickup truck later this year, it will have cut 2,400 parts from the bill of materials for the truck, compared from the existing model. ford f-series pickups are the top-selling vehicles in the u.s. and a huge profit center for the company. farley said by focusing on software, services and ford’s strengths in products, the company won’t be as vulnerable to a downturn as in the past. he said the company has let complexity “overrun our business as we tried to be all things to all people.”

above/below> mustang mach-e gt

farley says ford will be competing differently, going for tailored ownership experiences rather than “jockeying for slivers of market share” with complex vehicles in over-served market segments. he said the company will go to non-negotiated prices, working with the dealers. farley has long complained about ford’s high retail and warranty costs.

kumar galhotra, president of ford blue, said, rather than testing the new super duty pickup to a particular standard, the company tested it until parts and systems failed. now ford is finding the eventual weak point and eliminating it, prolongin vehicle life, galhhotra said.

ford also said its new or revamped electric vehicle manufacturing plants will be far more efficient, with nearly 30% less labor overhead than the company’s current large internal combustion vehicle plants.

above> pierro lissoni photo veronica gaido

a new studio offering comprehensive architectural services in the us piero lissoni is pleased to announce the establishment of lissoni architecture, a dedicated new york-based studio offering comprehensive architectural services for the united states.

led by renowned architect piero lissoni and ceo stefano giussani, the mercer street studios will now integrate interior and architectural expertise, providing a distinct and unique approach to projects.

previously focused on interior projects for the luxury hospitality and residential markets in the americas, lissoni new york has now expanded its operations to include lissoni architecture, marking a significant milestone in lissoni’s interdisciplinary history and presence in the us market. the new architecture studio aims to offer a 360-degree service, transforming the scale of lissoni’s operations in the us.

“here we are america, we’ve arrived! we can finally be architects here too!” remarked piero lissoni.

stefano giussani adds, “this achievement, eight years after the interiors studio was founded, represents both a remarkable milestone and a crucial challenge in this market. with new resources and boundless inspiration, we are poised to provide innovative solutions to our existing and future clients who share our design philosophy.”

the launch of lissoni architecture reinforces lissoni new york’s commitment to delivering exceptional design solutions, now encompassing both interiors and architecture.

above/below> a detail view of the concept vertical city aptly named “the line” touching the red sea

the line, a cognitive city stretching across 105.6 miles [170 kilometers], from the epic mountains of neom across inspirational desert valleys to the beautiful red sea. a mirrored architectural masterpiece towering 1,640 feet [500 meters] above sea level, but a land-saving 656 feet [200 meters] wide. the line redefines the concept of urban development and what cities of the future will look like. a civilizational revolution, its unparalleled livability can be explored at the line exhibition – now welcoming visitors in riyadh. no roads, cars or emissions, it will run on 100% renewable energy and 95% of land will be preserved for nature. people’s health and wellbeing will be prioritized over transportation and infrastructure, unlike traditional cities.

above> a ground level view of the mirrored wall cutting through the desert / below> the vertical concept city vs comparable traditional city

a small footprint to blend with nature
the line will have an outer mirror facade that will provide its unique character and allow even its small footprint to blend with nature, while the interior will be built to create extraordinary experiences and magical moments. it will be created by a team of world-renowned architects and engineers, led by neom, to develop this revolutionary concept for the city of the future.

this city will eventually accommodate 9 million people and will be built on a footprint of just 13 square miles [34 square kilometers]. this will mean a reduced infrastructure footprint, creating never-before-seen efficiencies in city functions. the ideal climate all-year-round will ensure that residents can enjoy the surrounding nature. residents will also have access to all daily essentials within a five-minute walk, in addition to high-speed rail – with an end-to-end transit of 20 minutes.

above> a canal from the red sea to the marina / below> the marina

a perfect climate all-year-round
to ensure the establishment of microclimatic spaces, the environment has been carefully designed to allow for an optimal balance of sunlight, shade and natural ventilation. furthermore, the green open spaces throughout the city will further enhance the comfort for those living, working and visiting here.

unparalleled access to nature
the progressive design offers immediate and uninterrupted access to nature within a two-minute walk – through its diverse open spaces, suspended on multiple levels. equitable access to pristine views of the surrounding natural landscape, mountains and sky, for all, avoiding urban sprawl thanks to a reduced infrastructure footprint.

more time to spend with loved ones
all daily essentials will be accessible within a five-minute walk and an efficient public transport network will offer a rapid end-to-end journey. automated services will be powered by artificial intelligence. amenities in close proximity will mean residents see family and friends often through spontaneous encounters.

clean air for everyone
the city will be zero-carbon, due to the elimination of unecessary infrastructure, cars and roads. it will operate on 100% renewable energy, including the operations of its industries. the integration of nature and open spaces throughout will serve an important role in enhancing air quality.

a concept referred to as zero gravity urbanism
the line remains one of the most important projects of saudi vision 2030, offering a new approach to urban design: the idea of layering city functions vertically while giving people the possibility of moving seamlessly in three dimensions (up, down or across) to access them is a concept referred to as zero gravity urbanism. different from just tall buildings, this concept layers public parks and pedestrian areas, schools, homes and places for work, so that one can effortlessly move to reach all daily needs within five minutes.

[ neom ]

be original americas, the non-profit advocacy organization established to educate and inform design professionals, consumers, educators, students and media about the value of authenticity in designs, begins its 11th year by announcing the formation of three committees. these committees will address the following key strategic areas:

developed to increase visibility and develop new avenues for outreach and education. this committee will plan & support the be original americas fellowship and other programs surrounding education. they will also develop opportunities for outreach to architecture & design firms and universities, as well as update & promote the current ceu accredited courses.
as a non-profit organization, membership and fundraising are key to the success of the be original americas’ mission. this committee will work to expand the membership base and encourage renewals, as well as develop fundraising ideas, special events and other opportunities. they will review and expand upon the current member categories and benefits.
there is strength in numbers and cultivating a community. this committee will plan & support events including town halls, panel discussions, special exhibitions, happy hours & lectures. they will also help develop and plan the annual meeting, which will be held february 6th, 2024, in new york city. they will ideate additional public relations and social media opportunities.

advocacy & education committee:
chairperson: amy auscherman, director, archives & brand heritage, millerknoll
kenneth baker, managing principal, gensler – north central region
odile hainaut, co-founder, wanteddesign & icff brand director
rebecca steiger, senior associate & creative director, tpg architecture
jenny hackley, creative marketing manager, lekker home

membership & fundraising committee:
chairperson: ricardo nabholz, managing associate, studio creative director, tpg architecture
cory grosser, creative director & owner, cory grosser & associates
annie kantor, founder & director of design, modern metal
patricia kittredge, sr. vice president of growth & innovation, lumens community & promotion:
chairperson: john edelman, president & ceo, heller
robert sargent, sales & business development manager, n.a., anglepoise
carly conelli, managing director, n.a., louis poulsen
alex enzbigilis, director of sales, rosendahl design group us
claire pijoulat, co-founder, wanteddesign & icff brand director

coming off the success of the 2022- 2023 exhibition, originality deconstructed, held at ace hotel in new york, palm springs and los angeles as well as a lively auction by wright/toomey & co., be original americas looks to increase its awareness and activities in support of our members and their authenticity & creativity.

[ about be original americas ]
be original americas is a non-profit creative advocacy organization committed to informing, educating, and influencing manufacturers, craftsman, design professionals, educators, media, and consumers about the economic, ethical and environmental value of authentic design.

[ media contacts ]
beth dickstein, bde&co., beth@bdeandco.com; m: 917-969-3808
karen brooking, bde&co., karen@bdeandco.com; m: 917-733-7898