Pour mes amis designers & architectes: des espaces de vie trop léchés font des gens trop tristes. Hence Unhappy Hipsters. Faîtes plutôt comme mon ami Charles-Antoine et mettez des pin-ups qui dansent dans vos rendus architecturaux. C’est toujours plus plaisant. (via le @jeanhambourg) 

TED: Captivating talk by architect Joshua Prince-Ramus of REX on the design work and contextual considerations that shaped the Wyly Theatre in Dallas. His rejects starchitecture, emphasizes on the nature of collaboration, and therefore fervently believes that architecture should result in solutions « that neither can be imagined initially nor individually. » 

CNN delivers scenes from Haiti with 360º degree camera (currently four scenes in total). Imagine fiction cinema using this exact concept: all around video + user navigation delivery like this. I guess that’s where video games come in. 

“Tú eres la clave. Tú eres la energia.” Version espagnole du Bixi: Urbikes. Certainement pas aussi robuste que le Bixi, mais la forme générale est toutefois intéressante. Dommage, parce que les cables qui dépassent auraient pu être intégrés au cadre, surtout que le vélo sera produit à grande échelle. Leur logo lui, par contre, remporte la palme d’utilisation-du-nineties-grunge-dépassé-a-des-fins-stylistiques-peu-cohérentes. Ça monte sur le podium avec leur slogan épellé “YoU aRe The EnergY”. 

Circa 1997: Apple Newton Getting Started Video. Slightly ahead of its time, the Newton was nevertheless quite well thought out: the type-correction interface is marvelous, still many smartphones don’t have something as well designed today. And the beam function just sounds trippy. (Pis oui, c’est juste pour vous mettre dans le mood avant la sortie d’une tablette [sic] quelconque le 27 janvier.) 

This is my favorite sentence in awhile. It’s from a short fiction piece titled All That by David Foster Wallace. A tad long to be learnt by heart, and so I love it none the less:

Sometimes the experience of the voices was ecstatic, sometimes so much so that it was almost too intense for me—as when you first bite into an apple or a confection that tastes so delicious and causes such a flood of oral juices that there is a moment of intense pain in your mouth and glands—particularly in the late afternoons of spring and summer, when the sunlight on sunny days achieved moments of immanence and became the color of beaten gold and was itself (the light, as if it were taste) so delicious that it was almost too much to stand, and I would lie on the pile of large pillows in our living room and roll back and forth in an agony of delight and tell my mother, who always read on the couch, that I felt so good and full and ecstatic that I could hardly bear it, and I remember her pursing her lips, trying not to laugh, and saying in the driest possible voice that she found it hard to feel too much sympathy or concern for this problem and was confident that I could survive this level of ecstasy, and that I probably didn’t need to be rushed to the emergency room, and at such moments my love and affection for my mother’s dry humor and love became, stacked atop the original ecstasy, so intense that I almost had to stifle a scream of pleasure as I rolled ecstatically between the pillows and the books on the floor.


With all those fireworks, good thing they didn’t make a CCTV out of themselves: the Burj Dubai—renamed Burj Khalifa only a few hours ago—is now open. (Merci Joanie) 

Gorgeous and distinctive use of wood for the concrete formwork (the molds into which the concrete is poured) in this Antwerp four story house. Design for and by CSD Architecten, it also subtlety features a street facade glass wall garage. Like parking in a boutique.  

The Auteur’s list the top 10 movie posters of the decade. My favorites are still Funny Games and Hard Candy, brutally beautiful. 

Pick up this week’s edition of the New Yorker and there’s an excellent and exhaustive article about architecture’s superstar Zaha Hadid. Covering the story of her latest project—the Museum of 21s Century Art in Rome (MAXXI)—it also explores where she has come from and how her views of architecture have been challenging the status quo since the 70/80s and are still, today, as fresh. The accompanying audio slideshow gives you the gist of it.

And 1000pts if you can guess the name of the photographer behind the photographs of the MAXXI museum. Watch out, bragging ahead: I got it right.