The Line - a proposed 170km-long city in Saudi Arabia - and part of the wider NEOM project next to the Red Sea,
Architects working on "The Line”: ’Morphosis, OMA, Peter Cook, Adjaye Associates, Peri Cobb Freed & Partners, Studio Fuksas, Tom Wiscombe Architecture, UNStudio, Coop Himmelb(l)au, HOK, Oyler Wu Collaborative, and Delugan Meissl Associated Architects.
Lot Size: 30x20
World Lot: 36 Bayani Place in San Sequoia
I love this bonkers house.
For years and years, a "Mole Man" dug tunnels underneath the original house.
Artist Sue Webster saw the house and out of curiosity called the city to ask about it. After learning more, she decided to buy it and renovate it, leaving homages to its previous tenant.
You can read more about the real life house here :D.
I will say - this is fully play tested, but it does have some pathway issues. It takes a while to get around in it, but I've had sims in there for about a 3 weeks and have been enjoying it.
“To make things more complicated, the field’s exclusion of minorities—coupled with its predilection for patronizing tokenism toward them—has also given Adjaye, a Black man, an extra layer of protection and insulation from criticism. He is not just a famous architect; he is a trailblazer. No one wants to be the employee who ruins the career of one of the few famous architects of color. It’s reasonable to anticipate that their allegations will be weaponized by bigots to reinforce their stereotypes and prejudices. The fact that all three women were Black should remind us that the role race plays in architecture is more nuanced and intersectional than Adjaye’s photo ops with Barack Obama would have us believe. His fall should put to bed the idea that one man’s success in a world that views him as an other is in any way tantamount to a real reckoning with race in architecture.
It bears repeating: Adjaye is an employer. His abuse is workplace abuse—it cannot take place without the infrastructure of the workplace to provide him power and access to victims. While his case is particularly spectacular in its violence, it is of a kind with abuse that happens in architecture firms around the world. All workplace abuse is irrevocably linked with worker precarity. The environment of architectural workers is particularly conducive to exploitation, since it encourages self-abuse: long hours, unpaid internships, unnatural devotion to “the project,” and identification of the self with the workplace.
…
These allegations should not be viewed as the ignoble and unfortunate end of what was once a fairy-tale story. They should not be viewed as an isolated instance of brutality. They should be viewed as a wake-up call. All of the elements that allowed Adjaye’s harm to go unpunished for so long are present in one way or another in all firms. They are inherent in the very culture of the discipline, which has become increasingly stratified, with entry-level workers seen as especially disposable and exploitable. Young architects, after being told all through school that they will be embarking on a journey to change the world and shape the built environment, instead find themselves working 10-hour days using mind-numbing software to catalog how much insulation is needed in a given wall. Receiving any scrap of acknowledgement from the great masters who run their firms more like despots than artists feels especially rewarding in such an uninspiring environment. Combine this dynamic with a culture of virulent racism and misogyny, lack of financial security or upward mobility, and precarious employment visas, and you have an environment that is primed for exploitation. The fact that this exploitation takes on a sexual dimension is no surprise when domination—over the workplace, perhaps over the built environment itself—is the order of the day.
A solution to these problems requires a world in which architectural workers see themselves as workers and where starchitects like Adjaye are no longer seen as gods. It also requires labor organization in the workplace; as in all corporate settings, institutions like HR (if firms even have it) are designed to protect the company, not its workers. Whether through activist organizations such as the Architecture Lobby or through unionization, architectural workers need accountability and support from outside their firms. Unionism in architecture is in its infancy, but solidarity among the field’s workers is rising year by year.”
Ncuti Gatwa is featured in a mural in Margate, London, full of Black British Icons.
The icons from left to right: Ncuti Gatwa, Claudia Jones, Little Simz, Queen Charlotte, Sir Steve McQueen, Munroe Bergdorf, Sir David Adjaye OBE, Olaudah Equiano, Lady Phyll, Mary Secole, and Raheem Sterling.