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build_r&d

@build_rd_

Crafting the blueprint of tomorrow for the pioneers of today. Networked Think Tank - @buildcities

buildcities.network/build-r-d
Joined January 2024
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𝑪𝑨𝑳𝑳 𝑭𝑶𝑹 𝑺𝑼𝑩𝑴𝑰𝑺𝑺𝑰𝑶𝑵𝑺: build_journal 01: Territories Is your research/work geared towards understanding and redefining our ever-changing built environment? We want to hear from you:
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Silver State Supremacy 🪙
build_ (@buildcities) profile picturebuild_
@buildcitiesJun 28
This one is for all the Battle Born builders...
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build_r&d retweeted
build_ (@buildcities) profile picture
build_
@buildcitiesJun 28
This one is for all the Battle Born builders...
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Proto-Town is a recently developed “innovation hub” in Caldwell County, Texas, positioned between Austin and San Antonio. Conceived as a company town for hardware startups, it reflects a renewed interest in spatially concentrated production ecosystems.
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Socially, Proto-Town operates as a communal living environment, where founders reside on-site in shared or temporary housing. This arrangement collapses distinctions between labor, domestic life, and experimentation, producing an always-on culture of innovation.
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As interest in new cities, special economic zones, and startup enclaves grows, Proto-Town raises a central question: can engineered communities for innovation remain open and democratic, or do they inevitably reproduce new forms of control and dependency?
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New Babylon (1956–1974) by Constant Nieuwenhuys is a speculative urban project envisioning a post-capitalist society structured by automation. Developed alongside Situationist theory, it proposes the abolition of labor in favor of continuous creative production and social play.
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Constant developed the project through drawings, models, texts, and films, positioning architecture as a speculative and critical practice. New Babylon operates less as a buildable proposal than as a theoretical apparatus for rethinking social and spatial organization.
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As a foundational work of radical architecture, New Babylon continues to inform discourse on post-work futures, mobility, and spatial agency. It asks whether architecture can support a society organized around play, contingency, and collective authorship rather than necessity.
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The Pepsi Pavilion at Expo ’70 in Osaka, developed with Experiments in Art and Technology (E.A.T.), marked a shift from architecture as object to architecture as immersive system, foregrounding experience, perception, and information.
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Internal conflicts between artists, engineers, and sponsors revealed the limits of collaboration, exposing tensions within corporate-supported avant-garde practice.
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The Pepsi Pavilion remains a key moment in media architecture, reframing space as programmable and experiential, rather than static and formal.
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