You have to admit it, Hollywood really seems to have a thing for John Lautner; his designs are continuously cropping up in tv-shows, films, cartoons, music videos and even video games. The occasional despondent college professor aside, his exuberant mansions are usually typecast as the bachelor-pads of various flamboyant psycho-paths, pornographers or drug-smugglers. Curbed Los Angeles have compiled this excellent video of the various Lautner-featuring scenes, so we thought that we'd take a closer look at some of his buildings, which tend to pop up in all manner of unexpected places.

Read more about Hollywood's love affair with Lautner after the break...

This article, written by Arizona-based architect Wendell Burnette of Wendell Burnette Architects, recounts the story of Paolo Soleri's 'The Dome' in the desert.

A glass house in the desert? Was it an architectural caprice, a folly, or was it a solution to the problems of desert living whose appropriateness is still not recognized? Having had the experience of living in The Dome for a full year, through all the seasons, I felt it incumbent upon myself to take a fresh look at this remarkable work of architecture.

Paolo Soleri, its designer, was born in 1920 in Turin, received a PhD in architecture from the Torino Politecnico, and in 1947 came to America to study with Frank Lloyd Wright, remaining with him for just over a year. Mark Mills, who assisted Soleri in the construction of The Dome, was born in 1921, received an architectural engineering degree from the University of Colorado, and studied with Wright for four years. It was at Taliesin that Soleri and Mills became friends. In 1948, when they and two other apprentices were working on an experimental structure at Taliesin West, which became what is known as the Sun Cottage, there was a misunderstanding with Wright that led to all four of them leaving. Soleri and Mills went to work with a developer, providing design work for some condominiums at the base of Camelback Mountain, below the north face in Paradise Valley. Soleri developed a scheme that involved a tower element supporting a hex form canopy and he and Mills built a mockup of Camelback out of concrete block and wood. It was shortly after this that “the Cli,” as she was fondly called, came along.

The complete article after the break...

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ALL THE BUILDINGS IN NEW YORK is a blog, a book, and, above all, illustrator James Gulliver Hancock's love letter to New York City.

As his website reveals, Hancock "panics that he may not be able to draw everything in the world… at least once." Since Kindergarten, he's been obsessed with drawing in meticulous detail (or, as he tells the Atlantic Cities, with a mix of "technicality and whimsy"), a characteristic this native Australian brought with him when he moved to Brooklyn, New York.

What began as a blog, All The Buildings In New York, to keep track of his many sketches of New York's architecture (particularly the brownstones), is now a book (All The Buildings in New York: That I've Drawn So Far - which includes about 500 drawings). Organized by neighborhoods, it features New York architectural icons from the past and present, including the Chrysler Building, the Flatiron, Apple's 5th Avenue store, as well as the everyday buildings that make up New York's unique cityscape.

See more images from All the Buildings in New York, after the break...

Having been involved in the creative industries education for over decade now, one of the most common questions students ask in interviews (and parents ask on open days) is about ‘getting a job’ at the end of the course. As if a graduating student can simply go and trade in their degree certificate and swap it for a ‘good job’. If only employment was this easy. 

‘Getting a job’ in the Arts has always been a difficult undertaking; with no boxes to tick it can be a complicated process finding an appropriate vacancy - and so ensues the hellish time of resume writing and job interviews. 

A drastic [most revolutions are] but more appropriate approach to this situation is not to think of ‘getting a job’ as ‘getting’- the mere word suggests a degree of affordance, of being gifted employment - but rather as ‘creating a job’. ’Creating’ is about being pro-active and entrepreneurial; it involves going out, attending events, talking to people, doing internships and apprenticeships – essentially increasing your exposure. After all, how will employers know they need you in their firm if they only see your skills in a nice little list on a sheet of A4? You must make yourself indispensable, and for that you don’t need a resume. You need guts.

More after the break...

By now you have probably heard that UNStudio, the Dutch firm led by Ben van Berkel and Caroline Bos, is on target to relaunch this June as an open-source web-based knowledge hub… that, by the way, will still pursue adventurous architecture. We could say they are “launching” this initiative, but it seems more accurate to say they themselves are “relaunching”.

Because of the difficult economic climate in Europe, van Berkel and Bos began to reimagine the practice along the lines of something more fluid, flexible, and agile, a knowledge-based approach to how they work within the office and how they engage the larger world. They are basing this around four topics or “knowledge platforms”: sustainability, materials, organization, and parametrics.

Context in architecture has become a subject bloated with discussion and debate over the years. And, as a matter of fact, it has come to matter very little in its formal and typological sense. Take, for instance, the fluid forms that compose Zaha Hadid’s hundreds of projects around the world, or Frank Gehry’s exploding compositions seen from South America to the unmistakable Guggenheim in Bilbao. The form architecture takes in these cases, and countless others, is in itself a deliberate disregard towards context in its literal sense.

But is this disregard for context a mistake? Observers would often say so, though I would like to disagree. It has become frequent that projects like these, largely formal and not politely accommodating their historic surrounding, actually take greater interest in social urban issues that have a direct impact on the city dwellers. Quite simply, successful architecture today is one that serves society culturally and practically, addressing tangible problems of 21^st century cities and dealing with context in a solution-oriented manner, going beyond aesthetics (whose value is only temporary) and into future-invested urbanism. Case-in-point? My hometown: Beirut, Lebanon.

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What do MIT’s Building 20, the Ancient Greek Agora, 18^th Century British teahouses, and early 20^th century Parisian cafés have in common?

They were some of the most creative spaces in the world.

People who gathered there would interact. People, such as Socrates or Chomsky or Edison, exchanged ideas, argued about morals, and discussed technologies. They participated in an informal discourse driven by passionate involvement.

And these places, although for different reasons, fostered interaction by bringing people together and giving them a place to talk. As Jonah Lehrer put it, “the most creative spaces are those which hurl us together. It is the human friction that makes the sparks.”

The question, then, is how can contemporary architecture foster the same kind of creativity?

To learn more about architecture and its role in creativity and learning, keep reading after the break.

Last week the UK's Culture Minister Ed Vaizey announced that he was commissioning a review of the country's architecture policy, to be led by Sir Terry Farrell along with a number of high profile advisors, including Thomas Heatherwick, Alison Brooks and Alain de Botton. According to Vaizey, the review, expected to be complete by the end of the year, "will be a rallying point for the profession."

In his article in The Guardian, Olly Wainwright rather hopefully questioned: "might this year-long study result in an innovative new piece of legislative guidance – perhaps along the lines of Denmark's architecture policy, introduced in 2007?" While Wainwright somewhat flatly concludes, "somehow, that seems unlikely," there's no doubt that the UK could only stand to gain from learning from Denmark's innovative policy.

So what lessons could the UK (and the world) learn from the Danes? Read on after the break...

Arguably the biggest buzzword in urbanism right now is the 'Smart City'. The idea, although certainly inclusive of eco-friendly practices, has even replaced “sustainability” as the major intent of cities planning for positive future development. Smart City thinking has been used successfully in countries as diverse as Brazil, the US, the UAE, South Korea, and Scotland (Glasgow just won a £24million grant to pioneer new schemes throughout the city).

But what exactly are Smart Cities? What benefit do they bring us? And, more importantly, how can we best implement them to secure our future?

The answer, in my opinion, lies in the hands of architects.

More on the potential of Smart Cities after the break...

This article, which originally appeared on GreenBiz, is by Lance Hosey, the chief sustainability officer of the global design leader RTKL.

Sustainability leader Hunter Lovins once called the building industry "dynamically conservative — it works hard to stay in the same place."

But old habits cannot fully address new challenges. According to 350.org, fossil fuel corporations currently have in their reserves five times the amount of carbon that, if burned too quickly, may raise atmospheric temperatures to a catastrophic level where Hurricane Sandy-scale storms could become the norm. Quicker, deeper progress is imperative.

Architecture is an essential arena for sustainable innovation. Buildings represent about half the annual energy and emissions in the U.S. and three-quarters of its electricity. With the built environment growing — the U.S. building stock increases by about 3 billion square feet every year — architects have a historic opportunity to transform its impact for the better.

Keep reading to find out the 6 Steps architects can take to transform the profession, after the break...

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Architecture is quickly adopting the popular technology of robots. Although it is slightly hard to define what “robot” really means, for architecture, it tends to refer to anything from robot arms to CNC mills to 3D printers. Basically, they are programmable, mechanical, and automated instruments that assist in processes of digital fabrication.

So, what might robots mean for architecture? A more precise architecture which could contribute to a more sustainable building life cycle? More innovative design derived from algorithmic processes? A more efficient prefabrication process that could reduce the time and cost of construction?

Probably a mix of all three. But more importantly, what might robots mean for humans? Robotic replacement for the construction worker? Loss of local craftsmanship and construction knowledge? Maybe. But I might reformulate the question. Asking what robots mean for humans implies passivity.  

What I ask, then, is what can robots do for humans?