Timelaspse is a global zoomable video that lets you see how the Earth has changend over the past 30 years. It is made from 35 cloud-free annual mosaics, one for each year from 1984 to 2018, wich are made interactively explorable by Carnegie Mellon University CREATE Labs Time Machine Library, a technology for creating and viewing zooming and pannable timelapses over space and time.

A lot of discussion precedes the construction of the barrier. At first, the plan is to close off the Oosterschelde with a solid dam. However, fishermen and nature conservationists revolt against this plan. The Oosterschelde is a unique nature reserve with more than 70 species of fish, 140 species of aquatic plants and algae and 350 species of benthic animals, which live on the sea bed. Building a solid dam would result in this nature reserve suffering irreparable damage. Completely closing off the sea arm means the end of the salt water environment in the Oosterschelde and therefore also the cultivation of mussels and oysters. The protest – with the Oosterschelde Open as battle cry – does not fall on deaf ears. In 1975, the then Cabinet came up with the proposal to build an open barrier that could be closed by means of gates – if necessary. A permeable barrier is much more expensive than a solid dam and thus the Cabinet’s proposal leads to fierce debates. In 1979 parliament approved the plan for the construction of the Oosterscheldekering.

Knights Architects: with a wealth of specialist design experience, the diverse team of experts is well-versed in bringing clarity, integrity and innovation to complex infrastructure projects. Their service is tailored and accessible, providing the unique blend of skills required for each project. They pride themselves on becoming an integral part of team, seeking to distil the political and cultural context of a project to deliver bespoke solutions that reflect the society they design for.

Ryue Nishizawa is born in Tokyo, 1966. Degree in M.A. (Architecture), Yokohama National University. Joined Kazuyo Sejima & Associates in 1990, established SANAA with her in 1995, established Office of Ryue Nishizawa in 1997. Professor at Yokohama Graduate School of Architecture.
Recipient of international awards, including the Gold Lion at the 9th Venice Architecture Biennale, in 2004, and the Pritzker Prize in 2010.
Significant Works: Weekend House (1998, Gunma), 21st Century Museum of Contemporary Art, Kanazawa* (2004, Ishikawa), Honmura Lounge & Archive (2004, Naoshima, Kagawa), Moriyama House (2002-05, Tokyo), Marine Station Naoshima, co-designed with Sejima Kazuyo (2006, Naoshima), Towada Art Center (2008, Aomori). The Teshima Art Museum was awarded the 25th Murano Togo Prize in 2011.

Tatiana Bilabao has revealed visuals of a major new aquarium she is building on the Mexican coastline, which is designed to look like a ruin or a shipwreck. The building is planned as an open grid, which will loosely divide the aquarium’s interior into different sections. Each area will be assigned to a different type of marine ecosystem: open sea, coast, land and forest.The building will have monumental concrete walls, draped with indigenous plants and vines. Some of these walls will extend beyond the building volume, which will reinforce the idea of the building as a ruin (in deezen).

Originating from a background in sculpture and ceramics, Dorte Mandrup’s approach to architecture has always been ‘hands on’. Shape and form constitute the company ethos – to create spaces which are aesthetically pleasing, contextually relevant, and invite people to engage.
Dorte Mandrup graduated from the Aarhus School of Architecture, Denmark in 1991. She founded her Copenhagen based studio in 1999 where she continues to be Creative Director. Her design philosophy and artistic yet systematic mindset permeates the entire office as she is design responsible in all projects.

BIG first won an international competition to create the bridge in 2015. The 1,000-square-meter (10,764-square-foot) aluminum-clad bridge connects the two river banks, with its twisted form allowing it to move from a lower to a higher elevation with ease. In fact, this uneven elevation between the two sides of the river created the problem that then transformed into the ingenious design known as The Twist. The bridge is just the latest art piece to appear at the Kistefos Museum and Sculpture Park. The addition of The Twist increases accessibility and will also allow for even more exhibitions within the museum (mymodernmet.com).

Rudy Ricciotti is a French architect born in 1952. Architect and engineer, he associates “strength of creation and true construction culture”.
His projects are marked of politic, technic, poesy, culture and materiality. He is the man of “doing” (the construction) and the material (the concrete); his projects make a constant tribute to specific knowledges, which of engineers first and then numerous and precious of the workers.

Olafur Eliasson’s art is driven by his interests in perception, movement, embodied experience, and feelings of self. He strives to make the concerns of art relevant to society at large. Art, for him, is a crucial means for turning thinking into doing in the world. Eliasson’s works span sculpture, painting, photography, film, and installation. Not limited to the confines of the museum and gallery, his practice engages the broader public sphere through architectural projects, interventions in civic space, arts education, policy-making, and issues of sustainability and climate change.

Astrup Fearnley Museum starts outside: the park is an organic game of canals, bridges and lawns where sculptures of the Selvaag collection are displayed in the nature and in the Piazza. Once inside, the visitors experience the temporary exhibition of the Astrup Fearnley Museet in a big double-height space, where natural light is filtered from a glass roof. Level by level, a sequence of smaller art spaces are linked by a bridge, leading the view towards the park and the Piazza, and connecting the inside with the outside. On the opposite side of the canal there are two more spaces for art on two levels, showing the Museum’s permanent collection. Slender steel columns support the sail-form, glass roof that provides shelter to the weathered timber cladding, while illuminating the interior’s extensive collection of contemporary art with a soft, natural light. This is like a little city where the visitor can be in contact with nature, take a swim, enjoy urban life, while contemplating art (archdaily.com).