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CuBo | Aldo AmorettiCuBo, the Cultural Box at the Campus Bio-Medico of Rome, is the first project realized within the thirty-year Horti Academici Master Plan. Designed by Labics in collaboration with Topotek1, the building introduces a structured framework that integrates contextual sensitivity, geometric rigor, and human-centered spatial design.CuBo Technical InformationArchitects1-16: LabicsMaster Plan: Labics & Topotek1Location: Trigoria Neighborhood, Rome, ItalyClient: Campus Bio-Medico S.p.A.Area: 10,500m2 | 113,000 Sq. Ft.Project Year: 2020 2023Photographs: Aldo AmorettiPublic space, the epitome of any democratic system, is at the heart of the project. Labics ArchitectsCuBo PhotographsExterior View | Aldo AmorettiFacade | Aldo AmorettiExterior View | Aldo AmorettiFacade Corner Detail | Aldo AmorettiEntrance | Aldo AmorettiCourtyard | Aldo AmorettiInterior Space | Aldo AmorettiStairs | Aldo AmorettiStairs | Aldo AmorettiAuditorium | Aldo AmorettiContextual Foundations: The Vision of CuBo within Horti AcademiciThe CuBo project stems from a larger vision to integrate the Campus Bio-Medico of Rome into the Roman countrysides cultural and natural landscape. At the heart of the Horti Academici Master Plan, a reinterpretation of the Roman centurion organizes the campus through a 66-meter square matrix. This rigid and flexible grid is disrupted by a green spine inspired by the nearby Decima Malafede Nature Reserve, weaving nature into the geometric framework.This vision aligns with the One Health holistic approach, which recognizes the interconnectedness of human, animal, and ecosystem health. CuBo epitomizes this philosophy, bridging academia, healthcare, and urban vitality to foster a collaborative environment that extends beyond its walls. Located at the junction of major campus pathways, CuBo becomes both a destination and a node within this meticulously planned campus.Architectural Narrative: Form and FunctionCuBos architectural design is a dialogue between tradition and modernity, simplicity and complexity. At first glance, its cubic form, adhering to the 66-meter square matrix, appears straightforward. However, upon closer examination, the interplay of porticos, courtyards, and double-height spaces reveals a layered spatial narrative.The building adopts a hybrid typology, combining a linear structure with courtyard arrangements. Its central courtyard bifurcates into an internal, more formal courtyard and an external, eccentrically positioned one. This spatial arrangement, enriched by covered passages and generous openings, fosters interaction and connectivity, embodying the principles of public space as democratic space.Internally, the design prioritizes flexibility. Specialized areas like the auditorium and simulation center coexist with multifunctional classrooms and informal gathering spaces. The spatial hierarchy evolves from traditional classroom-focused layouts to diverse spaces that encourage collaborative learning, informal meetings, and spontaneous interactions.Materiality and Environmental SynergyCuBos material palette mirrors its design ethos: simplicity and rigor. The buildings structure is defined by exposed reinforced concrete, combining prefabricated and in-situ elements, while dark brick cladding evokes the timeless charm of historic university campuses. Internally, the juxtaposition of materialslight gray terrazzo, warm wood, and acoustic rubber flooringenhances the sense of openness and functionality.The relationship with the landscape is central to CuBos identity. Large windows strategically frame views of the Roman countryside, blurring the boundaries between interior and exterior. The natural hill at the buildings entrance becomes a deliberate design element, with the double-height portico and glazing integrating it into the spatial experience. The central courtyard, partially mineral and partially green, acts as a gathering space, seamlessly connecting with the surrounding campus.Porticos play a dual role in CuBos design. They serve as architectural devices mediating between public and private, interior and exterior, while also functioning as bioclimatic tools, providing shade and protection from the elements.Critical Reflections: CuBo as a Public Architecture ParadigmAt its core, CuBo is a study of the architectural philosophy of public space as a democratic space. Nearly half of the buildings area is devoted to relational spaces, highlighting the importance of collective experience in shaping educational environments. These spaces are not merely connective but designed to be destinations in themselvesplaces where interactions and ideas flourish.The design balances institutional identity with human scale, ensuring the building resonates with its users. The deliberate openness of CuBos layout invites participation, collaboration, and discovery, embodying an architecture model that prioritizes community over isolation.CuBo PlansSite Plan | LabicsGround Level | LabicsLevel 1 | LabicsFloor Plan | LabicsSections | LabicsCuBo Image GalleryAbout LabicsLabics is an architectural and urban planning practice based in Rome, founded in 2002 by Maria Claudia Clemente and Francesco Isidori. Known for its conceptual rigor and innovative designs, Labics is a laboratory for advanced ideas, combining theoretical exploration with applied research. The studios portfolio spans diverse scales, from intimate interiors to expansive urban master plans. Among its notable projects are the MAST Foundation in Bologna, the Citt del Sole multifunctional complex in Rome, and the restoration of Palazzo dei Diamanti in Ferrara.Notes & Additional CreditsArchitectural Design: LabicsPrinciples: Maria Claudia Clemente and Francesco IsidoriMaster Plan: Labics and Topotek1Design Team Members: Tommaso Mennuni (Project Leader), Carolina Bajetti, Arianna Marino, Federico Pitzalis, Maria Iva SacchettiEngineering & Construction Supervision: Planning SrlAcoustics Consulting: Marco PaolicchioBuilding Inspection: Studio Cartolano SrlGeneral Contractor: Impresa Percassi S.p.AGross Floor Area: 10,500 square metersNet Usable Floor Area: 6,500 square metersLevels: Three (1 underground, 2 above ground)Key Spaces:Classrooms: 8 (176 seats each, divisible into two 88-seat classrooms)Auditorium: 330 seats (divisible into two 165-seat rooms)Cafeteria: 208 sqmStudy Area: 388 sqm multifunctional spaceFaculty Offices: 135 sqm with meeting roomsSimulation Center: 450 sqmChapel: 77 sqm with adjacent meeting roomTechnical Rooms: 2,200 sqm located in the basementStructure: Exposed reinforced concrete (prefabricated and cast-in-situ)Cladding: Dark-colored solid bricksFlooring: Terrazzo slabs (atrium and circulation spaces), Wooden slats (auditorium, study rooms, cafeteria), Rubber floating floors (classrooms)Windows: Bronzed finish for external glazing

Lakisha Woods, EVP/CEO of AIA, announced today that she will step down from her role effective February 2025, according to an AIA press statement. Stephen Ayers, 11th Architect of the Capitol, will serve as interim EVP/CEO until Woodss successor is identified. In the announcement of Woodss departure, AIA touted her passion for empowering women and minority leaders. AIA also pointed to the major accomplishments Woods earned during her tenure as EVP/CEO of the AIA. Woods has served in the role since January 2022.Woods was the first person of color and second woman to hold the title. Woods helped boost AIA membership to over 100,000 members for the first time in the organizations 167-year history, among other benchmarks. And today, more than a quarter of AIAs members are now women, another first for the institution.It has been an honor to serve as CEO of AIA working alongside such talented and dedicated professionals and members, Woods said. I am proud of the accomplishments we have achieved together, and I am confident that AIA will continue to evolve in the years to come. Ive witnessed firsthand the transformative impact of diverse perspectives and experiences in shaping organizations and communities.AIA is losing an incredible talent in EVP/CEO Woods, but we were so fortunate to have benefited from her leadership for three years, added Kimberly Dowdell, 2024 AIA President. In that short time, she has led with integrity, tenacity, and ingenuity, Dowdell continued. She is a leader among leaders, and those who have had the opportunity to collaborate with her understand how much of a loss this is to our organization and the profession of architecture. Woods leaves AIA in a stronger financial position than when she started, and we appreciate her expertise and fortitude in achieving this goal. The choice to step down by Woods came in the months after a series of controversies at AIA, and rebukes of her leadership, as reported by AN. Last summer, 23 former AIA presidents signed a letter addressed to AIA Board of Directors expressing their concerns related to finances and management, as well as potential misspending, nepotism, cronyism, and the pursuit of personal gain within AIA leadership.The AIA Board of Directors responded by saying that there was a coordinated campaign to publicly discredit Woodss leadership, without going into specifics or disclosing names. Then, AIA hired an independent law firm, Miller & Chevalier, to investigate the misconduct claims. Miller & Chevalier found no evidence of wrongdoing by Woods, and she was subsequently vindicated. In June, Terrence Ona, former AIA general counsel, filed a lawsuit against the AIA. Ona is suing for $2 million, claiming both economic damages and mental anguish due to his termination in April. Looking ahead, Woods said that she will dedicate herself to workforce development, with a specific focus on improving innovation and revenue growth in companies through equity for all in the workforce, with a specific focus on improving innovation andrevenue growth in companies through equity for all in the workforce.[Woods] is passionate about continuing to break down barriers, challenging the status quo, and creating a more equitable future for all, AIA continued. For the first time ever, women account for over a quarter of AIAs total membership. By promoting inclusive environments and providing opportunities for underrepresented voices, we can unlock the full potential of our society. We wish her well in all of her future endeavors.

The Female Design Council is proud to announce the third edition of The Female Design Council Grant. With the generous support of 1stDibs and NICOLEHOLLIS, the FDC Grant will award $20,000 in unrestricted funding to an exemplary woman of color in interior design. Applications will open on January 7, 2025, and the winner will be announced on March 25, 2025, in celebration of Womens History Month. In addition to financial support, the grant will include a 12-month membership in the Female Design Council, the premier professional network for women in design, and one-on-one mentorship from Nicole Hollis, founder of NICOLEHOLLIS and a 1stDibs 50 and AD100 interior designer. The winner will also be welcomed as a member of the 1stDibs Trade 1st program, where they enjoy a suite of benefits, including net price discounts and exclusive marketing opportunities.Two finalists will also be named, and will each receive a 12-month membership in the Female Design Council. 2024-2025 marks the third edition of the Female Design Council Grant, a biennial open competition created by the FDC as part of its mission to advocate for equity and inclusivity in the design industries. The FDC Grant is open to Black, Indigenous, Latina, and Asian American Pacific Islander female-identified designers based in the United States. Beyond a cash prize, the opportunity for industry recognition and high-level mentorship has been a game-changer for a historically under recognized group in design. Winners of previous cycles have gone on to gallery representation, high-level brand collaborations, major commercial commissions, and press accolades. Little Wing Lee, founder of Studio & Projects interior design firm and winner of the 20222023 FDC Grant, noted, I was truly honored to be the recipient of the Female Design Council Grant. Receiving incredible support and recognition was a wonderful investment in my studio. We were at an inflection point, and the FDC Grant gave me the opportunity and momentum to build and invest in future projects.The 20242025 edition of the Female Design Council is presented by 1stDibs and NICOLEHOLLIS, both longtime corporate supporters of the FDC. Nicole Hollis, founder of NICOLEHOLLIS, previously underwrote the 202223 cycle and served as a professional mentor to the winner, and 1stDibs has partnered with the FDC on numerous initiatives to support women in design since 2018. 1stDibs is proud to support a grant that empowers women by celebrating their achievements and providing resources to fuel creativity and drive their success in the design industry, said Karen Silveira, creative director, 1stDibs. This initiative reflects our commitment to fostering diversity and shaping a more inclusive future in design.JuryEach cycle of the FDC Grant has historically been juried by an outstanding group of design industry stars, from architects to editors to artists. True to form, the 20242025 FDC Grant will be juried by six icons in the industry: Lora Appleton, founder of the Female Design Council Elizabeth Graziolo, founder and principal, Yellow House Architects Nicole Hollis, founder, NICOLEHOLLIS Gabriella Khalil, creative director and cofounder, Palm Heights, and creative director, Water Street Projects WSA Camille Okhio, senior design writer, Elle Decor Karen Silveira, creative director, 1stDibs AboutAbout the Female Design Council:Founded in 2018 by Lora Appleton, the Female Design Council is the premier professional membership network and advocacy organization for women in architecture, design, and the applied arts. The FDC offers professional development opportunities, live and digital programming, and a vast collaborative network for its hundreds of members throughout the U.S. and Canada. As part of its mission to make the design industry more equitable and inclusive, the FDC continues to create important initiatives for the design community, including a free and open-to-all mentorship program, a robust exhibitions schedule, and an acclaimed grant program for Black, Latina, Indigenous, and AAPI designers. Each year, the FDC gifts 25 free memberships to emerging designers of color.About 1stDibs:1stDibs is a leading online marketplace connecting design lovers with highly coveted sellers and makers of vintage, antique, and contemporary furniture, home dcor, art, fine jewelry, watches, and fashion.About NICOLEHOLLIS:NICOLEHOLLIS conceives timeless interiors that elevate the human spirit. This award-winning collective of designers is led by creative director and principal Nicole Hollis in partnership with her husband, CEO Lewis Heathcote. NICOLEHOLLIS has been featured in Architectural Digest, The New York Times, The Wall Street Journal, GQ, Elle Decor, The World of Interiors, Wallpaper*, Surface, 1stDibs Introspective, and many other publications. The firm has received numerous prestigious awards including Elle Decor A-List, 1stDibs 50, HD Gold Key Awards, Interior Design Magazines Best of Year Awards, the 2023 ASID Designer of the Year Award, the 2024 Hospitality Design Designer of the Year, and has been named to Architectural Digests AD100.History of the FDC GrantIn 20202021, the Female Design Council launched the FDC Grant to recognize and reward two Black female designers, and, with the support of InCollect and BZippy, disbursed funds specifically to support a product designer or artist to bring a design prototype to market. The inaugural grant was awarded to furniture designer and sculptor Luam Melake and leather artisan Mia Wright-Ross. Since winning the grant, Melake is now represented by design gallery R&Co and has launched a collection with CB2, and Wright-Ross has been an Artist Fellow at the Museum of Art and Design and a faculty member at Parsons School of Design. In 20222023, the second edition of the FDC Grant, presented by NICOLEHOLLIS, focused on selecting an interior design studio founded by a woman of color, and the prize expanded to include both a cash award and mentorship by grant underwriter Nicole Hollis. The jury included Michael Chen, founder of Design Advocates, Tiana Webb Evans, founder of the Jamaica Arts Society, and Alison Levasseur, editor at Architectural Digest. Since winning the FDC Grant, awardee Little Wing Lee of Studio & Projects has been awarded the commission for the interior redesign of the National Black Theater of Harlem and launched a collection with RBW Lighting.For full eligibility and information on how to apply, visit https://www.femaledesigncouncil.org/grant.

The Knox County Courthouse stands in Downtown Rockland, Maine, and is a landmark example of a Civic building constructed in the Italianate style. Knox County was separated from adjacentLincoln Countyin 1860, with the coastal city of Rockland established as its county seat. For its first fifteen years, county offices were dispersed amongst buildings until in 1874 when the county retained Boston architect Gridley James Fox Bryantto design the present building. The building was constructed at a cost of $83,000, well over the anticipated $50,000 cost, and opened in 1875. The first floor accommodated all the county offices, with fireproof storage areas for records. The second floor was be taken up by the courtroom, and at either end were rooms for judges, jury and counsel.

Welcome toRockland, Maine! Originally called Catawamteak by theAbenaki, meaning great landing place, Rockland was first settled by European settlers in In 1769 as a camp to produce oak staves and pine lumber. In 1777, when Thomaston was incorporated, present-day Rockland became a district called Shore village. In 1848, it was set off as the town of East Thomaston and renamed Rockland in 1850. The coastal community grew quickly as a shipbuilding and lime production center, with upwards of 300 vessels to transport the mineral to various ports in the country for the building of communities all down the coast. The opening of the Knox and Lincoln Railroad in 1871 brought an influx of tourists and businesses, creating a development boom for the community. The line was leased to the Maine Central Railroad in 1891, which took over ownership in 1901. The Rockland Railroad Station,seen here, was built in 1917, just before the government took over the railroads during World War I.Architects Coolidge and Shattuckdesigned the station in the Romanesque Revival style with the oversized arched openings at the windows and main entrance. The rise of the automobile industry would further harm rail service and usage, and the Rockland Branch officially closed in 1959. The old Rockland branch station operated as the Rockland Town Hall for decades and is now occupied by a local restaurant,Trackside Station.

Zenith (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters. All images courtesy of the artist and Capsule Venice, shared with permissionFantastic Blooms Entwine with Sculptural Motifs in Mevlana Lipps Imagined WorldDecember 10, 2024ArtGrace EbertBehind barred motifs evocative of a wrought iron fence, otherworldly flowers are in full bloom, their heads stretching wide and tall while tendrils and leafy vines wind around the open barriers. Rendered in contrasting palettes of jewel tones and pale, muted hues, these uncanny plants are part of the latest body of work by Mevlana Lipp.While visiting Venice earlier this year, the Cologne-based artist admired the elaborately patterned fencing that wove its way throughout the historic islands. As I wandered through the city, I noticed the intricate metal bars on many windows, he says. For me, these bars symbolize a barrier between the world I inhabit and the fictional place I long for.Seven (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimetersVista is the culmination of this inspiration and presents an electrifying botanical collection. For these pieces, Lipp continues to meld painting and sculpture, as he layers acrylic paint, ink, and sand onto intricately cut wooden panels, which he positions atop velvet. This soft material interacts with the mottled, spotted, and patterned textures of the painted components and bolsters the sense of depth, becoming a vast chasm behind the fantastical florals.Compared to his previous works, though, Vista ventures into warmer, brighter color palettes. The artist shares: While the dark blue, green, and lilac backgrounds often create a sense of infinite voids, I wanted to explore other imageries as well. Think of an icy cold mist or a red desert stretching endlessly into the distance. I wanted to create works which have a wider array of temperatures.Lipps interest in expanding his palette dovetails with the symbolic elements of his work. As the artist sees it, plants are metaphors for base instincts and emotion, as they commune with each other and various species without the same social and cultural pressures of humans. Broadening his formal approach offers more room for spontaneity and unrestrained exchanges. When you walk into the forest, you take a look at all the existing connections, at how things interact with each other without fear, he says. Plants dont run the risk of hurting each others feelings.Vista is on view through December 15 at Capsule Venice. Find more from Lipp on Instagram.Cassiopeia (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimetersCoil (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimetersHalo (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimetersIce (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimetersCassiopeia (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimetersNext article

Along the Lake Michigan shoreline, Reuben Wu (previously) created a unique confluence of light shows over the water last summer. Known for creating light paintings in dramatic landscapes using drone-mounted lasers, his ongoing series SIREN marks a new direction of illuminated aeroglyphs, which transcend their original geometries to open up into more fluid shapes.This series captures ephemeral, curtain-like structures that hover delicately in space, shaped by their environment rather than imposing upon it, Wu says. The cascading white forms mimic the lakes rolling waves and, on this particular evening amid a Perseids meteor shower, the surprise appearance of the northern lights. See more on his website.Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Ethereal, Glowing Curtains Drape Over Lake Michigan in Reuben Wus Light Paintings appeared first on Colossal.