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html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The World Architecture Community has announced the winners of WA Awards 10+5+X 50th Cycle in Architecture, Interior Design, and Student categories. We have 39 different winning projects from 18 different countries with a fantastic mix of building types, spanning from Costa Rica, China, South Korea, Brazil,  Malta to Slovenia, Japan, United Kingdom, Colombia, Saudi Arabia, Kenya, Bangladesh.In short, the winning countries can be listed as Costa Rica, China, South Korea, Brazil, Taiwan, Sri Lanka, Japan, Malta, Iran, United States, Italy, Colombia, Saudi Arabia, Kenya, Bangladesh, India, Turkey, Thailand. TETRO Architecture's Seriema House in Brazil won the WA Award in the 50th Cycle in the Architecture/Realised category. Image © Luisa LageWA Awards 10+5+X 50th Cycle Architecture/Realised category In the Architecture/Realised category, TETRO Architecture's Seriema House in Brazil, UDG-STUDIO WESTWOOD's Xinyue Art Gallery in China, Oliver Schütte's No Footprint Wood House in Costa Rica, D Environmental Design System Laboratory's Passive Solar House With Pit Garden in Japan, Shen-Chiang Mao's Geometry in Taiwan are among the winners of the WA Awards 50th Cycle.In addition, YKH Associates' Inje Residence in South Korea, Jayesh Hariyani's Regional Science Centre At Rajkot in India, Dishna Thilanka Architects' Path Art Studio And Personalized Residence Maharagama, Sri Lanka, were awarded by the Votings of WAC Community Members in the Architecture/Realised category.Scroll down for the winning Architecture/Realised projects below:- Selected by the votes of Honorary Members and Winners in earlier cycles (10 projects)No Footprint Wood House, Costa Rica, by Oliver SchütteRegional Science Centre At Rajkot, India, by Jayesh HariyaniXinyue Art Gallery, China, by UDG-STUDIO WESTWOODCONC, China, by Mind ArchitectsSeriema House, Brazil, by TETRO ArchitectureGeometry, Taiwan, by Shen-Chiang MaoPath Art Studio And Personalized Residence Maharagama, Sri Lanka, by Dishna ThilankaPassive Solar House With Pit Garden, Japan, by D Environmental Design System LaboratoryNine x Nine, India, by Sanjay Puri Architects The Brewhouse and Trident Park, Malta, by Ritchie Studio Ltd- Selected democratically, through the votings of community members (+5 projects)No Footprint Wood House, Costa Rica, by Oliver SchütteRegional Science Centre At Rajkot, India, by Jayesh HariyaniSeriema House, Brazil, by TETRO ArchitecturePath Art Studio And Personalized Residence Maharagama, Sri Lanka, by Dishna ThilankaInje Residence, South Korea, by YKH AssociatesYing Chen's Layering Pocekts - Fish Dining Venue in United States won the WA Award in the 50th Cycle in the Architecture/Designed category. Image © Ying ChenWA Awards 10+5+X 50th Cycle Architecture/Designed categoryIn the Architecture/Designed category, Ying Chen's Layering Pocekts - Fish Dining Venue in United States, Studio Symbiosis's Gwalior Train Station in India, Meysam Feizi's Invocation Hall in Iran, Sanjay Puri Architects' 2 projects; Miraj Crafts Village and Shiva 1800 in India are among the winners of the WA Awards 50th Cycle. These winning projects were selected by the Votes of Honorary Members and Winners in earlier cycles.Ying Chen's Layering Pocekts - Fish Dining Venue in United States, Studio Symbiosis's Gwalior Train Station in India, Sanjay Puri Architects' Miraj Crafts Village in India were also awarded by the Votings of WAC Community Members in the Architecture/Designed category.Scroll down for the winning Architecture/Designed projects below:- Selected by the votes of Honorary Members and Winners in earlier cycles (8 projects)Invocation Hall, Iran, by Meysam FeiziGwalior Train Station, India, by Studio SymbiosisShiva 1800, India, by Sanjay Puri Architects Miraj Crafts Village, India, by Sanjay Puri Architects Bodrum Hotel Complex, Turkey, by ACE ArchitectureLayering Pocekts - Fish Dining Venue, United States, by Ying ChenIzmir Presidency and City Council!, Turkey, by Wall CorporationPlanning and Architectural Design of Lu Feng China Resources Hope Town, China, by Lab.C.[Architecture]- Selected democratically, through the votings of community members (+4 projects)Invocation Hall, Iran, by Meysam FeiziGwalior Train Station, India, by Studio SymbiosisMiraj Crafts Village, India, by Sanjay Puri Architects Layering Pocekts - Fish Dining Venue, United States, by Ying ChenIsaac Duran's Inverted Continents: Amphibious Architecture For Flooding in Colombia won the WA Award in the 50th Cycle in the Architecture/Student category. Image courtesy of Isaac DuranWA Awards 10+5+X 50th Cycle Architecture/Student categoryIn the Architecture/Student category, Isaac Duran's Inverted Continents: Amphibious Architecture For Flooding in Colombia, Kiana Alasty's The Resonance in Iran, Luan Fontes' The Light Inside: Net-Zero Cabins In Aosta Valley, Italy, Lulu Hasan's Boma Bliss in Kenya are among the winners of the WA Awards 50th Cycle. These winning projects were selected by the Votes of Honorary Members and Winners in earlier cycles.Additionally, Burak Kınır's Gödence Reborn in Turkey, MD Munsurun Nabi's ACCORDIVATOR (Accord Activator) Future Of Entrepreneurial Epicenter in Bangladesh, Hakan Sahin's The Erythros Sensorial Excavation House in Turkey were awarded by the Votings of WAC Community Members in the Architecture/Student category.Scroll down for the winning Architecture/Student projects below:- Selected by the votes of Honorary Members and Winners in earlier cycles (10 projects)The Light Inside: Net-Zero Cabins In Aosta Valley, Italy, by Luan FontesThe Resonance, Iran, by Kiana AlastyInverted Continents: Amphibious Architecture For Flooding, Colombia, by Isaac DuranFragments: Traces in Motion, Colombia, by Julian MatizThe Red Sea Pearl: Marine Life Research Center and Aquarium, Saudi Arabia, by Tariq MidherBoma Bliss, Kenya, by Lulu HasanUnveiling the Depths: Transforming an Abandoned Limestone Quarry into a Tourism Destination, Bangladesh, by Upama TalukderThe Erythros Sensorial Excavation House, Turkey, by Hakan SahinWeaving Urban Harmony: Bridging Commerce and Urban dynamics by redefining Zahur Hawkers Market, Chittagong, Bangladesh, by Sidratul MuntahaCo-Lab Artery, Turkey, by Yaren Esen- Selected democratically, through the votings of community members (+5 projects)The Erythros Sensorial Excavation House, Turkey, by Hakan SahinACCORDIVATOR (Accord Activator) Future Of Entrepreneurial Epicenter, Bangladesh, by MD Munsurun Nabi'Gödence Reborn, Turkey, by Burak KınırUrban Grove, Turkey, by Yiğit KaraşahinHall Of Urla, Turkey, by Yunus KaplanStudio Symbiosis' Parinee I Lobby in India won the WA Award in the 50th Cycle in the Interior Design/Realised category. Image © Vishal JayaprakashWA Awards 10+5+X 50th Cycle Interior Design/Realised categoryIn the Interior Design/Realised category, Studio Symbiosis' Parinee I Lobby in India, Yalın Tasarım Architecture's Urla EEG House in Turkey, SPACES ARCHITECTS@Ka's Swatantra Residence in India are among the winners of the WA Awards 50th Cycle. These winning projects were selected by the Votes of Honorary Members and Winners in earlier cycles.In addition, Studio Symbiosis' Parinee I Lobby in India, and Yalın Tasarım Architecture's Urla EEG House in Turkey were awarded by the Votings of WAC Community Members.Scroll down for the winning Interior Design/Realised projects below:- Selected by the votes of Honorary Members and Winners in earlier cycles (6 projects)Parinee I Lobby, India, by Studio SymbiosisUrla EEG House, Turkey, by Yalın Tasarım ArchitectureSwatantra Residence, India, by SPACES ARCHITECTS@KaOnur Ambalaj Executive Offices, Turkey, by Yalın Tasarım ArchitectureOffice for HDFC Life, India, by ALHAD GOREBangkok Bank Private Bank, Thailand, by Peeraya Ketmek- Selected democratically, through the votings of community members (+3 projects)Parinee I Lobby, India, by Studio SymbiosisUrla EEG House, Turkey, by Yalın Tasarım ArchitectureOnur Ambalaj Executive Offices, Turkey, by Yalın Tasarım ArchitectureOne Cycle ends as another starts...With this announcement, we'd like to remind you that the 51st Cycle of WA Awards is now open for submissions. You can submit your entries until 18 July 2025 (23:59 GMT +0). If you also want your project to get the recognition it deserves, make sure to participate before the deadline is over. Your starting point is How to Participate page. Read more about WA Awards 10+5+X.Top image in the article (from left to right): Ying Chen's Layering Pocekts - Fish Dining Venue (© Ying Chen), Studio Symbiosis's Gwalior Train Station (© Studio Symbiosis), YKH Associates' Inje Residence (© Dongwook Jung), TETRO Architecture's Seriema House (© Luisa Lage), UDG-STUDIO WESTWOOD's Xinyue Art Gallery (© Arch-Exist Photography), Luan Fontes' The Light Inside: Net-Zero Cabins In Aosta Valley, Italy (© Luan Fontes), Kiana Alasty's The Resonance (© Kiana Alasty), Studio Symbiosis' Parinee I Lobby (© Vishal Jayaprakash). 

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" "Lulebora nuk çel më" will be on display at the Republic of Kosovo's Pavilion at the 19th International Architecture Exhibition at the 2025 Venice Architecture Biennale. The exhibition is curated by architect, interdisciplinary designer, and researcher, Erzë Dinarama. The uprooting of ecological relationships and embodied knowledge systems under climate strain, as well as the new forms of sense-making that develop in liminal areas of uncertainty, are all explored in Emerging Assemblages, a sensory investigation of rupture and reconfiguration in Kosovo's changing landscapes.Erzë Dinarama. Image © Majlinda HoxhaThe project, which is based on fieldwork with farmers around Kosovo, explores a changing landscape where new crops like figs and kiwis take root while established ones like wheat, peppers, grapes, and chamomile struggle. By revealing the vulnerability of situated forms of knowledge and allowing for their recalibration, this agricultural shift symbolizes a wider epistemic rupture: the faltering of sensory signals and seasonal markers that farmers have depended on for decades.Lulebora çel më nuk. Through sensory-material components that are difficult for predictive models to represent, such as the soils and scents of this unpredictable landscape, Emerging Assemblages materializes these ecological conflicts.Research MaterialThe pavilion floor is covered with a variety of soils from the two main Kosovar plains. These soils range from lighter, mineral-rich strata that reflect deeper, less changeable geologic layers to dark, fertile topsoils, exposing both the inherent limitations and the potential for adaptation of a changing terrain. Farmers observe that the behavior of soil varies by season and place, influencing what can be planted and when. This soil actively participates in ecological becoming rather than being static or passive; it leaves behind dynamic indicators of change that are difficult to quantify.Research MaterialThe pavilion's relational calendar, which uses smell—our most personal and intangible sense—to convey these new agricultural cycles, is at its core. This olfactory calendar is arranged based on ecological thresholds, or times that farmers determine are crucial to the life cycles of important crops, rather than dates. Research MaterialThe stories of disappearing crops, delayed flowering, and emergent ecologies are made sense by each fragrance, which serves as a temporal node in a rhythmic assemblage of change based on farmers' embodied accounts. This confirms the hyperlocal nature of embodied knowledge even as it drifts into new patterns. In this sense, rupture becomes a place for reconfiguration as well as a symbol of loss. In order to navigate a world that is undergoing change, Emerging Assemblages asks us to stay with what cannot be completely described or quantified—to hear, smell, and feel.Digital platform and publicationLulebora nuk çel më. Emerging Assemblages also features a web-based platform that extends the research beyond the physical space of the pavilion. The website offers a dynamic tool for exploration, engaging visitors in layered perspectives on the project’s themes.A collection containing essays, fieldwork insights, critical comments, and textual explorations that go deeper into the research and the spatial imaginaries it evokes will be published after the pavilion's official opening.Research MaterialErzë Dinarama is an architect, interdisciplinary designer, and researcher whose work integrates urbanism, landscape architecture, and ecology to address environmental challenges through design and aesthetic research. She has taught at institutions such as the Polytechnic of Milan, ETH Zurich, and Polis University, and has presented her research at conferences like Acadia and eCAADe.The Republic of Kosovo has been participating at the 19th International Architecture Exhibition – La Biennale di Venezia with a national pavilion since 2012. Past presentations were composed of work by Përparim Rama (2012), Gëzim Paçarizi (2014), Eliza Hoxha (2018), Maksut Vezgishi (2021), and Polikesen Qorri– Dragaj (2023).The 2025 Venice Architecture Biennale will take place from May 10 to November 23 November 2025 at the Giardini, the Arsenale and various venues in Venice, Italy. Besides Kosovo's contribution, other contributions at the Venice Architecture Biennale include Polish Pavilion's exhibition Lares and Penates: On Building a Sense of Security in Architecture, Swiss Pavilion's Endgültige Form wird von der Architektin am Bau bestimmt, Iceland's exhibition Lavaforming, Estonia's Let Me Warm You exhibition, the Romanian Pavilion's "Human Scale" exhibition, the Luxembourg Pavilion's Sonic Investigations exhibition, the Albanian Pavilion's "Building Architecture Culture" exhibition, the Turkey Pavilion's "Grounded" exhibition, the Pavilion of the United Arab Emirates's "Pressure Cooker" exhibition, the Finland Pavilion's "The Pavilion – Architecture of Stewardship" exhibition. Exhibition factsArchitect, Curator: Erzë Dinarama Commissioner: The National Gallery of Kosovo Organiser: Ministry of Culture, Youth and Sport of the Republic of Kosovo Venue: Arsenale, Sestiere Castello Campo della Tana 2169/F 30122 Venice, Italy.All images © Erzë Dinarama unless otherwise stated.> via The Republic of Kosovo's Pavilion

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Chinese architecture studio Archermit has converted a former veterinary station into an agricultural talent center in Anyu, China. Named An Yue Qianlong·Guanzihe Village Agricultural Talent Center, the 705 project is located Guanzihe Village, Qianlong Town. The project site, which is in Guanzihe Village, Qianlong Town, An Yue County, Sichuan, was the location of several sizable pig farms that have since been abandoned. The Agricultural Talent Center was once a 1,600-square-meter patio that served as a veterinarian station for these farms.Aerial viewDespite years of neglect, the ground floor of the main building, which was built using traditional dry-stacked local stone, remained structurally solid. The main building's second floor and a single-story extension that was erected more than 20 years ago had largely collapsed and were unsafe. The annex was made of brick and concrete.Undulating curved rooflineGuanzihe Village is the center of the production of lemons, which are An Yue's most recognizable industry. The town is now a demonstration zone for striking a balance between growing lemons and grains in order to strengthen the local lemon industry's influence and comply with national regulations that prohibit "non-agricultural use" of farmland and guarantee that basic farmland is kept for staple crops. Aerial viewAn agricultural supply store, a specialty product exhibition, e-commerce livestreaming, smart agriculture control, lemon culture exhibits, agricultural training, and farm tractor rentals are just a few of the uses for the proposed Agricultural Talent Center. The veterinary clinic, which was the area's entrance and was located next to the village's main road, was abandoned for many years. It was the perfect choice for revival due to its strategic position and moderate scale.Exterior of the building after renovationAccording to the studio's experience in architectural practice, it's critical to differentiate between three states for such renovation projects: "aged," "damaged," and "deteriorated.""Aged" implies normal wear and tear over time, which is not a bad thing but rather adds historical significance; "Damaged" denotes a structurally sound item that has partially deteriorated but is still repairable; and "Deteriorated" implies irreparable deterioration. Making these differences clear allows for customized approaches to older building revitalization.Aerial viewUsing design as a tool to draw tourists and revitalize the countryside, the majority of rural revitalization initiatives nowadays include cultural tourism components, mainly aimed at out-of-town tourists or urbanites from surrounding areas.Serving the local industry, farmers, and aspiring agricultural professionals who will relocate to the area is what distinguishes the Agricultural Talent Center. By offering useful areas that promote the growth of regional industry, it seeks to meet pragmatic demands. The structure must have a strong feeling of local identity and visibility because it serves as the "gateway" to the agricultural park. Despite the importance of aesthetics, cost reduction is still a crucial factor in its development.Building after renovation at nightRenovation StrategyThe studio made the decision to remove the badly collapsed annex and the structurally problematic brickwork on the second level of the main structure after conducting an on-site study of the former veterinary station. The main building's ground level, which was made of rubble stone masonry, was still intact. To facilitate the quick building of the Rural Talent Center, a new steel and timber structure was added.Veterinary station before renovationPhase One: The annex will be demolished, the roof, floor slab, and brick masonry from the main building's second floor will be removed, the original structural beams will be preserved, and damaged sections of the ground floor's stone walls will be repaired. Phase Two: Recasting floor slabs, installing steel columns inside the existing stone walls, and concurrently building the sunken slab for the restrooms. The former veterinary station after renovationPhase Three: The steel structure for the agricultural equipment canopy is hoisted and installed, and the main building's curved roof truss system and second-floor steel structure are erected.Phase Four: Installing timber roof frames for the main building and the annex; erecting fair-faced red brick walls on the second story of the main building. Building after renovationPhase Five: Fitting windows, doors, and steel stairs; finishing the interior and exterior; installing wooden roof panels and traditional little blue tiles. The entire veterinary station was completely renovated and turned into a thriving community center in just 57 days. Today, it offers the villagers a wide range of services, such as live-streamed produce sales, farm equipment rentals and sales, agricultural knowledge training, and agricultural supplies (pesticides, fertilizers, and seeds).Aerial viewPlace-Based ConstructionThe studio nevertheless wanted to design a building that was unique and blended in with its surroundings, even with a constrained budget, a short timeline, and a construction crew composed primarily of local people. The design team started by thoroughly investigating the skills of the building crew, the accessibility of nearby materials, and the technological prowess of nearby processing workshops. After that, the design planning was modified appropriately.Undulating curved rooflineIn fact, a few of the older but still physically fit villagers had contributed to the construction of the first veterinary clinic many years prior. Since there aren't many competent stonemasons in the countryside these days, the ground floor's dry-stone construction was left to the few surviving artisans. Fortunately, the kind of stone that was used was still accessible in the area, so the team was able to see a sight that brought back memories of a time when stone homes were constructed completely by hand. The building was given a poignant feeling of history and craftsmanship by the sound of hand hammers striking stone and the old masons' rhythmic work chants.The hills are dotted with joyful bursts of yellowWhile parts of the interior partition walls, which had previously divided six rooms on the ground floor, were taken down to make place for new functional layouts, the outside stone walls were mainly left intact. The ground level's freshly laid concrete floor slab was purposefully left uncovered, resulting in a dramatic contrast between the new and the old that complemented the ancient stone well. The interior was given a dynamic yet grounded spatial character by the addition of sturdy OSB shelves and bright lemon-yellow polycarbonate panels.The dry-stone masonryThe design team used the same technique from twenty years ago to rebuild the exposed red brick walls on the second story of the main structure. Even though the building isn't very old, we nonetheless wanted to keep evidence of its development. The new red brick walls were constructed by some of the village's most talented bricklayers. The dry-stone masonryTo the satisfaction and happiness of the builders, who enjoyed the admiration of their fellow villagers for a considerable amount of time, the finished product was so beautifully completed that it exceeded the excellence of the original building. The agricultural shed and main building's undulating curved roofing was modeled after the seedling greenhouses dotted over the surrounding farmland. Robust OSB shelvingFree-spirited and lively, the dark gray roof's rhythmic waves mimic the shapes of the nearby hills or ripples across a lotus pond. It drastically changed the old buildings' drab massing and became a noticeable landmark in the community, particularly when viewed from the adjacent Yuelin Road. With its multiple levels, the agricultural shed's roof was also ingeniously constructed to meet the space requirements of various farming equipment. The shed's roof was constructed using ordinary fir planks that had been burned, cleaned, and covered with protective varnish in order to save money, simplify the construction process, and expedite the process. The exposed red brick wallsThe main building's roof included tiny blue tiles on top of a traditional timber truss structure that is typical in Sichuan. The new building was closely tied to the traditional dwellings of the nearby villages thanks to the subtle yet harmonious aesthetic established by the grain and texture of the dark timber combined with the blue tiles.The exposed red brick wallsA Splash of Color in the CountrysideThe countryside is always a kaleidoscope of colors in our memories, thanks to the fruits and wildflowers that blossom throughout the seasons as well as the verdant crops and plants. The plentiful lemon harvests in Guanzihe Village are well-known, as Archermit explained.There are happy bursts of color on the hills during picking season. We believed that the establishment of the Rural Talent Center would give the village a youthful, upbeat presence in its surroundings and bring new life and vitality to the area, according to the team.Aerial viewPlayful colors like brilliant yellows and fresh greens can also be used in the inclusive rural areas of Sichuan, where white walls and blue tiles are commonplace. The team included the village's distinctive crop, lemon-yellow, as a major visual component into the center's layout. In addition to making the surrounding foliage appear even more lush and the sky more strikingly blue, this yellow creates feelings of freshness, vitality, and peace. More significantly, it conveys to guests the friendliness and openness of Guanzihe Village and the village's character as a lemon-growing community right away. Undulating curved rooflineThe explosion of yellow extends from the curved eaves to the hallways and stairways that link to the main structure. It connects the center's main programmatic components—the multipurpose hall, the "Craft & Nature" maker area, and the agricultural equipment shed—both aesthetically and practically. Carbonized wood roofThroughout the circulation route, the lemon yellow serves as a guide. The yellow becomes the new darling of the town when night falls because it glows even more brilliantly under the lights and envelops the gently curved shape of the Rural Talent Center with an almost sexy flare. Its warm glow lights up the village entrance like a lamp in the dark, and we hope it will keep Guanzihe Village's path bright going forward.Different heights of arches correspond to different agricultural machineryThe hills are dotted with joyful bursts of yellowThe Agricultural Talent Center under the NightfallThe light passing through the grille resembles the effect of a lanternIntroduced the lemon-yellow color in spatial designSecond floor passageSecond floor exhibition galleryLocal Agricultural Exhibition HallA device with alternating yellow and green colorsNight lanternThe Agricultural Talent Center under the NightfallOriginal ground floor planGround floor planSecond floor planSectionElevationsPreviously, Chinese architecture studio Archermit imagined an exhibition building as "a huge bamboo tree" at the center in Sichuan, China. In addition, the firm completed a public building that features white slender columns, creating "a bamboo forest" and elevated cloud-like elevated platforms in Longmenshan Town, Pengzhou city, Sichuan Province, China. Project factsProject name: An Yue Qianlong·Guanzihe Village Agricultural Talent Center Architects: ArchermitLocation: Anyu, China Lead Architect: Pan YoucaiDesign Director: Yang Zhe (Partner)Technical Director: Chen Renzhen (Partner)Structural Engineer: Du XuDesign Team: Hu Qinmei, Zhao Yaxian, Yang Rui, Gou Yuanjun, Liu Zixuan, Huang Yuting, Feng YutaoConstruction Drawings: Chengdu Meixia Architectural Design Co., Ltd.Client: Sichuan Puyuan Agricultural Development Co., Ltd.Construction Contractor: Sichuan Ningdu Junhua Construction Engineering Co., Ltd. Text: Pan Youcai, Xiangxin GeProject Location: Guanzihe Village, Qianlong Town, Anyue County, Sichuan ProvinceGross Floor Area: 705 m² (including the agricultural machinery shed)Materials: Red brick, rubble masonry, traditional blue tiles, steel plate, wooden shingles, paintCompletion Date: April 2023The top image in the article: The hills are dotted with joyful bursts of yellow.All images & drawings © Archermit.> via Archermit

Submitted by WA Contents Fran Silvestre Arquitectos designs a winery with curvacious form adressing winemaking process Spain Architecture News - May 01, 2025 - 11:42   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Spanish architecture firm Fran Silvestre Arquitectos has unveiled design for a winery with curvacious form adressing winemaking process in Zayas de Báscones, Soria, Spain.An architectural component that settles lightly rather than imposing itself arises in the serene interior of Castile. It is intended to serve as a location for the study and recovery of ancestral grape varietals more so than a typical winery. A place where modest experimental products are made using a procedure called micro-vinification to assess the potential of unlabeled or forgotten vines. This winery serves as a sort of viticultural Noah's Ark, housing not only Vitis Navarra's research projects but also preserving Spain's vine genetic richness, including species that continue to exist on the periphery of time and space.The architecture blends in with the geometry of the land and the leisurely rhythm of farming as it rests gently on Zayas de Báscones' topography. The design of the surrounding vineyards and their topography served as the inspiration for the winery's two curved walls, which provide an envelope that defines the area and allows its organic construction. From the arrival of the grapes and destemming to fermentation in stainless steel tanks, the aging room in oak barrels, and bottling, the proposal's longitudinal layout adapts to the order of the winemaking process. The functional logic of the oenological process is constantly maintained as this straight path widens at specific locations to incorporate a social and tasting area, as well as areas for study and storage.These walls are supported by a light single-pitch metal roof and are composed of hempcrete blocks, which are a mixture of plant fibers, lime, and water, set on edge. Their curved geometry increases their structural inertia. A continuous white Diathonite spray coating, a mortar manufactured from natural cork, is applied to walls, floors, and ceilings to unify all building components. In addition to giving the structure a cohesive and organic look, this method gives it a high thermal inertia, which is necessary to keep the winery's interior conditions steady and encourage the best possible growth of the wine over time.Referring to the mythological figure who guarded the forest, the Basajaun collection is a site of transition: between the known and the unknown, between an agrarian past and a fresh perspective on the interrelationships between architecture, nature, and wine culture. The preservation of life, diversity, and memory is more important than merely keeping wine in storage. A modern sanctuary for the age-old wisdom of the vine.Situation planSite planGround floor planSectionsElevationsRceently, Fran Silvestre Arquitectos designed a house featuring irregularly shifted volumes on an irregularly shaped plot within Altos de Valderrama, in Sotogrande, Spain. In addition, the firm completed Villa 18 in Madrid, Spain. Project factsArchitects: Fran Silvestre ArquitectosProject team: Fran Silvestre, Sevak Asatrián, David CirocchiDeveloper: Vitis Navarra, Bodegas Dominio D‘echauzEngineering: ALFATECAll images © Estudio Agraph.All drawings © Fran Silvestre Arquitectos.> via Fran Silvestre Arquitectos

Submitted by WA Contents An international workshop: Bits to Bricks: Data, Craft, Code Turkey Architecture News - May 01, 2025 - 17:23   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" An international workshop titled "Bits to Bricks: Data, Craft, Code" will be held online under the auspices of the Faculty of Architecture at Trakya University between May 2–10, 2025, as part of the series Contemporary Approaches in Architecture. Architects, designers, and academics from both national and international backgrounds will contribute to the workshop through presentations and hands-on digital design studios.Coordinated by Assoc. Prof. Dr. Gencay Çubuk, Bits to Bricks: Data, Craft, Codeoutlines its conceptual framework through keynote presentations by distinguished guest speakers including Dennis Shelden, Lars Hesselgren, Soomeen Hahm, J Parrish, Igor Pantic, and Yong Ju Lee.The hands-on workshops to be conducted by Mehmet Emin Bayraktar, Seçkin Maden, Barış Terzi, and Kevser Yıldız aim to provide tools that will help students explore interactive potentials at the intersection of digital design and architecture.The main themes of the workshop include:- open-source and collective architecture,- algorithmic design,- CNC and 3D printing applications,- digital fabrication techniques,- ethical and sustainable digital design,- geometry and architecture,- modular/assembled structures,- parametric design,- sensor integrations,- adaptive and intelligent facade systems,- data-driven design,- artificial intelligence,- design with XR and VR,- and 3D scanningThe keynote presentations by Dennis Shelden, Lars Hesselgren, Soomeen Hahm, J Parrish, Igor Pantic, and Yong Ju Lee are open to the public, while participation in the workshops by Mehmet Emin Bayraktar, Seçkin Maden, Barış Terzi, and Kevser Yıldız is limited in capacity. Detailed information, the event schedule, and links to the online sessions can be found on the event’s Instagram page: @bitstobricks.All images courtesy of Bits to Bricks: Data, Craft, Code.> via Bits to Bricks: Data, Craft, Code

Submitted by WA Contents DesignDaily Awards 2025 - Recognizing Global Architectural Excellence United States Architecture News - May 01, 2025 - 17:23   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" We are thrilled to announce the DesignDaily Awards 2025, an international competition celebrating the best in architecture, design, and creative innovation. This open call invites architects, designers, firms, and students worldwide to submit their most visionary projects—whether conceptual, in-progress, or completed within the past six years. Since 2011, DesignDaily has championed architectural and design innovation, spotlighting exceptional works globally. The DesignDaily Awards 2025 aim to recognize groundbreaking designs that push boundaries in creativity, functionality, and impact. With expanded categories for 2025, including sustainable architecture and innovative visualizations, the Awards offer a platform for diverse ideas. Projects can range from residential designs to urban planning, visualizations, and more, with a focus on innovation and aesthetic excellence. Participants are encouraged to showcase how their work addresses modern challenges, from sustainability to community impact, within their chosen category.  Open to individuals and teams from all backgrounds, the award fosters inclusivity, welcoming both students and seasoned professionals. Entries will be evaluated by a distinguished jury of industry experts, academics, and past winners, alongside public voting, ensuring a balanced and fair process. Winners will receive a prestigious Award Badge, a certificate, and global exposure through DesignDaily’s and CompetitionList’s combined audience of over 250,000 social media followers and millions of annual views. ScheduleApril 1: Awards LaunchApril 1 - May 31: Early Bird RegistrationJune 1 - July 31: Standard RegistrationAugust 1 - September 30: Late RegistrationSeptember 30: Submission DeadlineOctober 1 - October 31: Preliminary ScreeningLate October: Longlist AnnouncementNovember 1 - November 30: Public VotingLate November: Shortlist AnnouncementDecember 1 - December 31: Jury EvaluationLate December: Results Announcement  Note: All deadlines are 11:59 PM GMT (Greenwich Mean Time).  AwardsJury Winners: Award Badge + Certificate + Global Exposure  Popular Vote Winners: Award Badge + Certificate + Global Exposure  Honorable Mentions: Featured on the official websiteJury membersIvan Martinovic, Senior Instructor, Toronto Metropolitan University, Toronto, CanadaKatarina Toews, Senior Communication & Event Manager at Architects, not Architecture (AnA), Palma de Mallorca, SpainZhixing Li, Researcher in Architecture, Solearth & Associates, Hangzhou, ChinaConsuelo C. Buencamino, Principal Architect, CC Buencamino Architect, Quezon City, PhilippinesNiko Kapa, Director, Studio Niko Kapa, Dubai, UAEJean-Francois Goyette, CEO, Future-Future Global, Hong Kong, ChinaCristiano Luchetti, Lecturer, Istituto Marangoni, Dubai, UAEDavid Woshinskky, Senior Associate, Handel Architects, Boston, USAOmar Degan, Principal Architect, DO Architecture Group, Somalia & ItalyBassel Omara, Founder & Design Director, Omara Design Studio, Dubai, UAECyrus Rivetna, Principal, Rivetna Architects, Chicago, USAChinmoyananda Phukan, Principal Architect, Ergon Constructions, Guwahati, IndiaVisit the competition website to submit your project today!Contact: [email protected].The top image in the article courtesy of DesignDaily Awards.> via DesignDaily Awards

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Zaha Hadid Architects has opened a new science and technology museum with layered form and glazed façade in Shenzhen, China. Named Shenzhen Science & Technology Museum, the large structure is located next to Guangming Station on Shenzhen's metro network. The design responds to its surrounding as a solid, spherical shape that faces the city, defining the southeast corner of the new Science Park.This new institution will explore the power of science and the technological breakthroughs defining our future by showcasing scientific endeavors, groundbreaking research, and future technological possibilities.In order to foster innovation and showcase the continuous ingenuity that positions Shenzhen as a global leader in the creation of new technologies, the museum will work with the Greater Bay Area's renowned tech industries, universities, schools, and research centers. The Greater Bay Area is the world's largest metropolitan area, home to nearly 100 million people, according to Zaha Hadid Architects.A dynamic sequence of outdoor terraces facing the park is created by the building's volume stretching westward into the park. A major new civic area for the city is created by these terraces, which are functional extensions of the inner galleries that encircle the imposing central atrium.The Shenzhen Science & Technology Museum includes 5,400 square meters of research labs, teaching facilities, and an innovation center in addition to 35,000 square meters of galleries and exhibition halls, both temporary and permanent, and 6,000 square meters of immersive theaters and movie theaters. In addition, production and maintenance workshops are joined by 34,000 square meters of tourist amenities and storage.The numerous galleries in Shenzhen's new scientific institution rise from the central atrium's floor and walls, while other galleries hover over the magnificent scale and arrangement of the atrium's expansive public area. Each gallery provides visual cues that help visitors navigate the museum's network of connected areas.The atrium's many viewpoints and materiality also offer an exciting starting point for each visitor's exploration. The atrium's expansive, glassed wall that faces the park blurs the lines between indoor and outdoor space, allowing natural light and scenery, along with our insatiable curiosity, to enter the center of the structure.In order to test and optimize the building's form, spaces, and envelope for the yearly solar radiation, temperatures, humidity, prevailing winds, air quality, and other variable conditions of Shenzhen's subtropical climate and location, the design process used sophisticated computer simulations guided by passive environmental strategies. It has been established that the building's position minimizes solar heat gain in its central atrium while preserving expansive park vistas.The terraces on each floor improve environmental performance and create a series of sheltered outdoor spaces overlooking the park, providing visitors with places to rest and reflect while exploring the exhibitions. The terraces are designed to protect the glazed façade of the atrium from direct sunlight to improve visitor comfort.The terraces on each floor improve environmental performance and create a series of sheltered outdoor spaces overlooking the park, providing visitors with places to rest and reflect while exploring the exhibitions. The terraces are designed to protect the glazed façade of the atrium from direct sunlight to improve visitor comfort.A system of stainless-steel panels forms a ventilated void between the façade and the external walls, reducing direct exposure to the weather and solar radiation. This system includes photovoltaics for on-site energy generation and extends to the roof.The first extensive usage of dual color INCO technology in China was featured on the museum's façade. A nano-scale oxide film was created on the steel's surface by precisely regulating an electrolyte formula and oxidation time. As Zaha Hadid Architects explained, this gives the façade a self-cleaning, self-protecting micro-layer that prolongs its life cycle by making it more resistant to weather and corrosion and enhances the stainless steel's fine texture and color without the need for painting.The color gradient of the façade changes from deep blue to different shades of grey, creating depth and complexity while recalling the dynamism of celestial bodies orbiting in space.ZHA explained that passive design elements and smart management networks running high-efficiency systems are expected to lower the museum's energy consumption to 15.47 kgce/sqm annually, which will lower emissions from electricity demand to an estimated 125.89 kWh/sqm annually. The museum is aiming for the highest three-star rating of China's Green Building Evaluation Standard.In order to reduce overall water consumption to an estimated 14,906 cubic meters annually, the museum's water management system uses grey-water recycling in addition to collecting and storing rainwater. The museum's procurement strategy aimed to use 389,238.92 tonnes of recyclable materials in construction.The Building Information Modeling (BIM) and 3D scanning technology was used in the project's digital twin construction process to manage and maintain tolerances of complex surfaces within millimeters. While robotic multi-point forming technology perfectly molded the complex surfaces to the exact requirements of the design, a thorough network of key nodes throughout the building allowed for the concurrent verification of all construction from the digital simulation in real-time.Zaha Hadid Architects unveiled design for Cityzen Tower, a new high-rise in Tbilisi, Georgia. In addition, the firm unveiled design for a new masterplan, featuring a pair of fluid towers in eastern Naples, Italy. Furthermore, construction has commenced on ZHA's Centre of Mediterranean Culture in Reggio Calabria, Italy.Project factsClient: The Bureau of Public Works of Shenzhen MunicipalityOperator: The Shenzhen Association for Science and TechnologyDesign: Zaha Hadid Architects (ZHA)Consortium Local Design Institute: Beijing Institute of Architectural Design Co. Ltd. (BIAD)Consortium Lead (ZHA) Team:ZHA Principal: Patrik SchumacherZHA Project Directors: Charles Walker (Commercial Director), Paulo Flores, Simon YuZHA Project Architect: Edgar PayanZHA Project Senior Associate: Lydia KimZHA Project Package Leads: Juan Montiel, Jinqi Huang, Niran Buyukkoz, Saman Dadgostar, Julian Lin, Richard Wasenegger.ZHA Project Team: Berkin Islam, Cheryl Lim, John Kanakas, Sven Torres, Michael On, Yuxuan Zhao, Enoch Kolo, Karina Linnsen, Boyan Hristov, Bechara Malkoun, Mansel Haynes, Haohao ChenZHA Competition Team:ZHA Project Design Directors: Paulo Flores, Simon YuZHA Project Architects: Karoly Markos, Edgar PayanZHA Design Leads: Niran Buyukkoz, Saman Dadgostar.ZHA Project Team: Jinqi Huang, Berkin Islam, Billy Webb, Cheryl Lim, Christos Koukis, Federico Fauli, Juan Montiel, Jurij Licen, Michal Wojtkiewicz, Bogdan Zaha, Michael On, Yuxuan Zhao, Enoch Kolo, Nastasja MitrovicCompetition Stage Consultants:Acoustics Consultants: Marshall Day AcousticsExhibitions Consultants: Art of FactCinema Consultants: TeecomLandscape Consultants: GillespiesSpecialist Consultants (Schematic Design Stage):Façade Consultant: GYAC (Shanghai) Co. Ltd.Acoustics Consultants: Acoustics & Theatre Design Division, East China Architectural Design & Research Institute Co. Ltd.Green Building Consultants: Jorjun Green Building Technology Co., Ltd, GuangdongExhibitions Consultants: Art of FactCinema Consultants: TeecomLandscape Consultants: GillespiesSpecialist Consultants (Preliminary Design Stage):Local Design Institute (Structure & MEP): Capol International & Associates GroupLocal Design Institute (Architectural): Beijing Institute of Architectural Design Co. LtdFaçade Design Consultants: Dadi Facade Technology Co. Ltd.Interior Design Consultants: J&A (Jiang & Associates)Exterior Lighting Consultants: GD-Lighting Design Consultancy Co. Ltd.All images © Virgile Simon Bertrand.> via ZHA News 

Submitted by WA Contents The gold-colored, folded facade gives a striking and symbolic presence to a new sports complex France Architecture News - May 01, 2025 - 12:36   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" French architecture practice Atelier Aconcept has completed a new sports complex wrapped by a golden-colored, folded façade that gives a striking and symbolic presence in In Mennecy, France.Named Nikola Karabatic Sports Complex, the 2,000-square-metre project was designed for the Communauté de Communes du Val d’Essonne, the project owner. According to Atelier Aconcept, the project emerged as "a striking, golden, levitating volume."The sports facility, which is a hallmark for regional growth, is located at the southern edge of a business sector and honors the French champion's medal-rich career with its glittering reflections. The facility's open and public nature is emphasized by its massive aluminum front.Two offset, interconnecting rectangular volumes make up the straightforward yet useful form. This thoughtful design protects people from direct sunlight while maximizing the facade's impact.During the long summer days, a small overhang of the lintel provides shade from the sun.The welcome area at ground level blends in with the forecourt, making it difficult to tell inside from outside. This atrium, which is completely glazed on three sides, promotes transparency between form and function. Visitors are led to the center of the structure by the abundance of natural light. The mezzanine, which naturally extends from the ground floor, is easily accessible from the double-height hall.The multi-sports hall is housed in the suspended volume, which is wrapped with expanding metal that changes color according to the light. This area has a large landscaped outside and can accommodate a range of covered outdoor activities. The interior is brightened by a glass band to the south and a continuous strip of natural light coming from the north.The building's architectural presence is strengthened when its height is maximized. The golden cladding is a purposeful choice that is both striking and representative of the quest for excellence that is connected to Nikola Karabatic's name. Depending on the setup, the precisely rectangular upper-level sports hall can accommodate 100–150 spectators in tiered seating for a variety of sports formats.Two ancillary rooms on the bottom floor further illustrate the facility's adaptability. With at least one unbroken wall, these square-shaped activity areas can have ballet bars, mirrors, projections, or exhibits. These rooms have a smooth connection to the business park and direct outdoor access. These areas are made more versatile by a shared storage area next to them.Comfort for users is emphasized by large circulation zones. The mezzanine and adjacent walkways are illuminated by a wider, elongated courtyard that extends from a central patio at ground level, which also offers natural light and visual relief.Parking was difficult due to the site's limitations, therefore a creative solution that incorporates stormwater management was developed. The parking lot is a manicured feature that blends in with the surrounding environment.Floor planFloor planFloor planFloor planSectionSectionNorth elevationWest elevationProject factsProject name: Nikola Karabatic Sports ComplexArchitects: Atelier AconceptCompetition: 2021Completion: 2024Surface Area: 2,000 m2Sustainability: Effinergie+ & Eco-DesignClient: Communauté de Communes du Val d'EssonneProject teamStructural Engineering: Gaïa, Ligot Mechanical & Electrical Engineering: LBEi Sustainability & HQE: Cardonnel Acoustics: ArtacoustiqueKey features: HQE Effinergie+ certification, Wood structure, Large cantilevered overhangAll images © 11h45.All drawings © Atelier Aconcept.> via Atelier Aconcept

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" As part of the 19th International Architecture Exhibition in Venice, the Polish Pavilion will present the "Lares and Penates: On Building a Sense of Security in Architecture" exhibition, which ties into the tradition of approaching architecture as a means of protecting people from threats such as natural disasters, wars, and the elements.The creators look into whether architecture can create a safe reality. They achieve this by calling forth culturally and technically based practices, giving people a sense of agency in the face of danger. Authors, photo by Maciej Landsberg/Zachęta ArchiveAn interdisciplinary team led by architect Maciej Siuda, painters Krzysztof Maniak and Katarzyna Przezwańska, and architecture historian Aleksandra Kędzior put together this theme into the exhibition.Defense has been one of architecture's primary objectives from its inception. The concerns that its inhabitants face have changed over time. While individuals continue to seek refuge from the weather or the elements, they are currently also coping with the effects of climate change, war, or the possibility of mass migration.Lares and Penates...., working process, photo by Krzysztof Maniak, courtesy of the authorThe curators posed these questions to explore the theme in greater depth: Can architecture’s tools protect us from the adversities fate throws at us? What practices tied to building and use of structures can we implement to secure a sense of safety? The Lares and Penates: On Building a Sense of Security in Architecture exhibition seeks answers to these question in the superstitions and building practices cultivated to this day.Lares and Penates...., working process, photo by Krzysztof Maniak, courtesy of the author"Lares and Penates are deities that kept watch over the homestead in Ancient Rome," said exhibition co-creator Aleksandra Kędziorek."They are recalled as a guarantor of household security in many languages, and so ― much like Biennale Architettura 2025 curator Carlo Ratti with the word Intelligens, which is the main theme of this year’s exhibition ― we draw from them as a universal code of sorts, derived from ancient tradition."Lares and Penates...., working process, photo by Krzysztof Maniak, courtesy of the authorThe project's idea depends on two concepts: safety provided by following specific rituals and security guaranteed by laws. Solutions from construction, fire, and work and safety hygiene codes are included in the first. This is reflected at the exhibition with items that are already present in the Polish Pavilion, including alarm systems, emergency exits, a lock on the door, and a fire extinguisher.Lares and Penates...., working process, photo by Krzysztof Maniak, courtesy of the authorThe second construct concerns Polish customs and practices pertaining to building. These include the blessed lamp, which protects a family during a storm, the horseshoe placed over a house's doorway to offer good luck to its occupants, and the wiecha, a wreath hung on a structure during construction to assure its ongoing good fortune.Lares and Penates...., working process, photo by Krzysztof Maniak, courtesy of the authorThe pavilion's space and front are covered by the display arrangement. Members of the curatorial/art team conceived, made, or discovered the items that symbolized ancient customs and traditions. The team's combined efforts were crucial in the exhibition's preparation, dismantling the conventional role division.Lares and Penates...., working process, photo by Krzysztof Maniak, courtesy of the authorThe exhibition demonstrates that the line separating what is logical and approved by law from what is emotional and meets people's psychological needs is not always as distinct as we may believe; these two concepts can occasionally overlap and blend together. It allows us to examine how people who use architecture communicate their fears, whether they are reasonable or hardly noticeable. It offers a humanist perspective on architecture by utilizing instruments from several artistic disciplines.Lares and Penates...., working process, photo by Krzysztof Maniak, courtesy of the authorDesign sketches for the exhibition in the Polish Pavilion by Maciej Siuda, courtesy of the authorDesign sketches for the exhibition in the Polish Pavilion by Maciej Siuda, courtesy of the authorThe 2025 Venice Architecture Biennale will take place from May 10 to November 23 November 2025 at the Giardini, the Arsenale and various venues in Venice, Italy. Besides Poland's contribution, other contributions at the Venice Architecture Biennale include Swiss Pavilion's Endgültige Form wird von der Architektin am Bau bestimmt, Iceland's exhibition Lavaforming, Estonia's Let Me Warm You exhibition, the Romanian Pavilion's "Human Scale" exhibition, the Luxembourg Pavilion's Sonic Investigations exhibition, the Albanian Pavilion's "Building Architecture Culture" exhibition, the Turkey Pavilion's "Grounded" exhibition, the Pavilion of the United Arab Emirates's "Pressure Cooker" exhibition, the Finland Pavilion's "The Pavilion – Architecture of Stewardship" exhibition. Find out all exhibition news on WAC's Venice Architecture Biennale page. Exhibition factsExhibition name: Lares and Penates: On Building a Sense of Security in ArchitectureCurators: Aleksandra Kędziorek, Krzysztof Maniak, Katarzyna Przezwańska, Maciej SiudaPolish Pavilion commissioner: Agnieszka Pindera, director of Zachęta – National Gallery of ArtOrganizer: Zachęta ― National Gallery of ArtPoland’s participation in the 19th International Architecture Exhibition in Venice is financed by the Ministry of Culture and National Heritage of the Republic of Poland.The top image in the article: Graphic design by Krzysztof Pyda.> via Polish Pavilion 

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Rotating glass and wooden volumes reflect the idea of life energy and continuous development at the Czech National Pavilion at the Expo 2025 Osaka, Japan.Designed by Zurich, Prague and The Hague-based studio Apropos Architects, as an exhibit, the pavilion is made of glass and wood. The project's volumes were created by the architects using the spiral theme. In order to reach the viewing roof, visitors must follow a 260-meter walkway that circles the structure and progressively ascends via four stories. In addition to representing time and human progress, this dynamic movement also represents social and personal development.After 55 years, Expo 2025 is returning to Osaka, and the translucent pavilion by Apropos Architects with a glass spiral delicately alludes to the Czech pavilion in Japan in 1970. Situated at the prominent juncture of the major boulevard and the coastal promenade, the pavilion is a showcase of architecture. It draws attention with its translucent glass façade and upward-expanding silhouette that appears to defy gravity. In addition to paying homage to the rich history of Czech glassmaking, this façade, which is composed of plate creative glass, also serves as a distinctive exhibition area. The exhibition offers a dynamic and distinctive visual experience because of the interior's ever-changing mood caused by the shifting daylight.In addition to moving physically along the gallery walk, visitors to the pavilion also take in the exhibition's artistic substance, which bolsters their inner vigor. While the exhibition stimulates introspection, the pavilion's construction promotes upward mobility and physical exercise. When combined, they form an area that links mental and physical movement.A ramp leads to a large observation platform at the very top, twelve meters above the ground. The VIP Lounge is situated in a unique rooftop "crown" at the end of this. From this location, a stunning view of the auditorium may be seen straight through the glass skylight, in addition to a panorama of the serene sea.The stairway from the observation platform back to the ground is the last part of the exhibition and the visitor's fictitious tour of the pavilion. It is positioned inside the cylinder's double-walled cavity, which leads to a restaurant on the bottom floor where guests can savor Czech cuisine. A second staircase, which runs inside the inner tube and functions as an auditorium, is adjacent to the guest staircase that leads from the observation deck to the ground floor. The VIP club, ground floor restaurant, and auditorium stands are all connected by a stairway. The two stairs' clever design guarantees a distinct division between the exhibition and multipurpose hall activities. There is an elevator in the western section of the building that provides wheelchair access.The auditorium, the multipurpose hall's center tube, is surrounded by a spiral guest route. With an inside diameter of 15.5 meters and a height of 12 meters above the ground, this area at the center of the pavilion will host lectures, cultural performances, and other events. It's intended to be a black box. The visiting walkway is surrounded by a ramp with seats in the auditorium, and there are multiple connections between the gallery and auditorium. This enables various areas to be seamlessly integrated or varied in accordance with the needs of the moment. Wood is used to expose the exposed structures and ceilings. The central theater truss, which has elevators and staircases built into it, is made of a system of cross-laminated spruce CLT panels. Horizontally set slabs complete the house's core. They contribute to the inner shaping of the multipurpose hall's balconies and the outward shaping of the display spiral.The structure is composed of 36 sections and rises to a height of 16 meters. On the lower stories, the separate pieces create a circle; on the upper floors, they gradually change into an ellipse that defines the pavilion's mass and envelope. Visitors and bystanders are welcome to relax and reflect on the wooden terrace with boxes that fronts the pavilion.Art InstallationsRenowned Czech visual artists produced the one-of-a-kind multimedia display inside the gallery walk. Rony Plesl's enormous crystal sculpture opens the exhibition. The primary visual component is a tale painted and drawn by Jakub Matuška, often known as Masker, that encircles the pavilion's whole perimeter. His composition, which is more than 200 meters long, reflects human endeavor by metaphorically spiraling outward.Lunchmeat Studio's multimedia display, which unifies the entire area, adds to the amazing audiovisual experience. The trip, which blends modern art with historical legacy, also features an intriguing glass piece called Herbarium by Lasvit and a bronze sculpture by Alfons Mucha.Underground floor plan Ground floor plan First floor planSecond floor plan Third floor plan Top floor planRoof floor planSectionEast elevationWest elevationSouth elevationNorth elevationThe architecture firm Apropos Architects has offices in Den Haag, Prague, and Zurich. Its members have expanded into a larger team with a global presence after gaining experience at prestigious studios like Herzog & de Meuron, Annette Gigon & Mike Guyer Architekten, and Global Architects. Find out all pavilions on WAC's Osaka Expo 2025 page. Project factsProject name: Czech Pavilion Expo 2025Architects: Apropos ArchitectsTeam: Michal Gabaš, Tomáš Beránek, Nikoleta Slováková [Apropos Architects] + Tereza Šváchová.Design team: Kryštof Jireš, Magdalena Havlová, Jana Watersová, Laura Lukáčová, Eva Gabaš Rosenová, Miroslav Slezák, Natálie Poláková, Alexandra Mishchenko [Apropos Architects].Location: Osaka, JapanCompletion year: 2025Built-up area: 621m2Gross floor area: 2121m2Plot size: 996m2Client: Ministry of Foreign Affairs of the Czech Republic (MFA CR), Office of the General Commissioner of EXPOCollaborators and suppliers:Visual communication, competition exhibition concept and visual identity: Lunchmeat Studio [Jakub Pešek, Jan Kistanov, Jiří Kubalík]Structural engineer / general design concept [Czech]: Lukáš KrbecCoordination of professions / MEP: Robert PrixPartner office in Japan: frontoffice tokyo [Koen Klinkers], Frank la RiviereStructural engineer [Japan]: Haruhide KusumotoGeneral contractor: Daisue ConstructionCLT load-bearing structure contractor: A2 TimberFacade system contractor: WiedenArtistic facade glass contractor: Kolektiv AteliersSheet glass contractor: AGC Flat Glass CzechArt installations: Rony Plesl, Jakub Matuška aka Masker, Lucie Drdová, Lunchmeat Studio [Jakub Pešek, Jan Kistanov, Jiří Kubalík]All images © BoysPlayNice.All drawings © Apropos Architects.> via Apropos Architects

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Weiss/Manfredi Architecture/Landscape/Urbanism has been unanimously chosen by the Nelson-Atkins Museum of Art to serve as the principal architect for the museum's next expansion and renovation project. Their overarching idea brought together the three components of architecture, landscape, and community as mutually beneficial components that preserve the stunning vista of the Donald J. Hall Sculpture Park from the south lawn.The museum's objectives for a dynamic, airy, and welcoming design are in line with Weiss/Manfredi's proposal, which will expand the number of areas available for showcasing art in all its forms and open up new avenues for audiences of all ages to engage in creative and immersive experiences. The Weiss/Manfredi project was recommended by the museum's Architect Selection Committee, which described the team as engaging, intelligent, innovative, and curious, and the project as the best way to achieve the museum's goals. Soon later, the Board of Trustees approved the decision. Now that the lead architect has been chosen, the museum will start the months-long process of transforming the idea into more precise and comprehensive designs to satisfy the community's long-term needs and objectives."Weiss/Manfredi’s concept absolutely blew us away as it captured the spirit of the museum while offering a bold vision for our future," said Julián Zugazagoitia, Director & CEO of the Nelson-Atkins. "Central to our competition was the need to respect the Nelson-Atkins’ original, neoclassical building, as well as our beautiful Bloch building, while also bringing something new to our campus." "This concept delivers all of that, and we look forward to working with Marion, Michael, and their team to collaborate on an expansion design that keeps our commitment to great experiences with art and forges a deep sense of belonging and connection within our community," Zugazagoitia added.The competition process was led by an Architect Selection Committee formed of current and former Trustees and Zugazagoitia. The members include: Evelyn Craft Belger, Board Chair and Chair of the Architect Selection Committee; Rick Green, Trustee and Immediate Past Board Chair; Valerie Chow, MD, Trustee; Paul DeBruce, Trustee; Linda Woodsmall-DeBruce, member of the Committee on Collections; Bill Gautreaux, Trustee; Don Hall, Jr., Trustee; Shirley Bush Helzberg, Chair Emerita; Neil Karbank, Board Secretary; Sandra Lawrence, Board Treasurer; Greg Maday, Trustee; Ramón Murguía, former Trustee; Mark O’Connell, Trustee; Kent Sunderland, Trustee; Julián Zugazagoitia, Director & CEO.Weiss/Manfredi was selected from a six-firm shortlist, which included Kengo Kuma & Associates, Renzo Piano Building Workshop, Selldorf Architects, Weiss/Manfredi, Studio Gang, and WHY Architecture.The design by Weiss/Manfredi, which the firm calls a "connected tapestry," re-establishes a museum front door on the north side, opens up the west side with a welcoming events and learning lobby along Oak Street, and creates more community-friendly northern and southern perimeters with new gateways and pathways. A "Commons" area and a new photography center will be accessible from the events lobby, providing fascinating views of the historic structure and surroundings.The firm's fundamental understanding of the museum's requirements, attentive listening to input, and provision of numerous options impressed the selection committee. They were certain that the firm could create a successful structure that would be beautiful in form, forward-thinking, and interesting and welcoming to the neighborhood. The committee's opinion was supported by the enthusiastic and favorable public response to Weiss/Manfredi's proposal. In the upcoming months, the thoughts and ideas that were introduced will continue to change and develop."We are deeply honored to work with The Nelson-Atkins Museum of Art on this transformative project,” said Marion Weiss and Michael Manfredi, Design Partners at Weiss/Manfredi. "It is a rare and meaningful opportunity to reimagine the museum as a place where art, architecture and landscape converge to reveal a place of discovery and delight, and we look forward to collaborating with the museum and community to create a more transparent and welcoming cultural campus."A few years ago, the groundwork for this event was laid. Following the pandemic, The Art Newspaper named the Nelson-Atkins a top museum in post-pandemic attendance growth with a younger and more diverse audience, igniting strategic talks that had been put on hold in 2019. Because of its success, the museum started assessing its future space requirements with Cooper Robertson, a global architecture and urban planning firm. The scope of expansion and an architecture competition were set over a number of Board retreats attended by András Szántó, an expert who specializes in cultural strategy for museums.The museum responded to this work by hiring Malcolm Reading Consultants to start an architectural competition that called for a new, roughly 61,000-square-foot addition, a partial renovation of the original Nelson-Atkins building, and the activation and amplification of the outdoor campus—all of which were presented within the framework of a careful sustainability plan.The international competition announced in Spring 2024 resulted in nearly 200 entries from architects in 30 countries on six continents. Six finalists were chosen to present at the museum in late-2024 and invited to display their concepts—along with models and other images—in a free exhibition at the museum, with the public encouraged to offer comments.Marion Weiss, Michael Manfredi, courtesy of Shuli Sadé and WeissManfrediThe extension is expected to be funded privately. Following the selection of an architect, the museum and the Board of Trustees will closely oversee the design development process. Community involvement will be actively sought, in particular from the many students who visit the Nelson-Atkins for its wide range of programs and classes.All images © Weiss/Manfredi, courtesy of Malcolm Reading Consultants unless otherwise stated. > via Malcolm Reading Consultants

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Uzbekistan Pavilion at Osaka Expo 2025 is envisioned by a German architecture studio Atelier Brückner as a sculptural timber forest, representing a new era for the Central Asian country and a focus on growth and the future.Titled Garden of Knowledge – A Laboratory for a Future Society, the pavilion, commissioned by the Uzbekistan Art and Culture Development Foundation (ACDF), is now open to the public. The Expo 2025 in Osaka runs under the theme "Designing Future Society for Our Lives" and takes place on Yumeshima Island in Osaka Bay from April 13 to October 13, 2025.The design, which has previously won Gold at the German Design Award, adheres to sustainable principles by using natural materials and modular construction. The pavilion's exhibit provides insights into Uzbekistan's science, innovation, and transformation while showcasing the country's rich heritage.The pavilion's design is a modern, environmentally friendly interpretation of Uzbekistan's traditional craftsmanship. With a 1,272-square-meter footprint and approximately 860 square meters of display area, the two-story pavilion offers a classic representation of the Uzbek environment. Constructed from clay and brick, the base symbolizes the nation's cultural legacy, the land, and its roots. The 8-meter-tall wooden sculpture that stands on the outdoor terrace symbolizes the forest, which is a haven of safety and an open area for information sharing. The grove of columns alludes to colonnades, which are used to define spaces in classical temple and palace construction. Openness in every direction is embodied by the pavilion's transparent, open, and accessible architecture, which provides space for ideas and growth. Every visitor is welcome to participate in the continuous changes taking place in the nation and witness Uzbekistan's developing future.Natural, reusable materials with roots in Uzbekistani culture that have been reimagined for a contemporary setting include wood, clay, brick, gravel, and soil. They will completely return to either biological or technical cycles following the Expo. For example, the wooden sculpture is reusable after being broken down into modular pieces. Visitors can even use a smartphone to pinpoint the wood's precise origin. All of the wood utilized is from local sources close to Osaka and is sugi, a native cypress type.The Uzbekistan Pavilion positions itself as a social learning environment as well as a test bed for a future society. SDGs 4, 7, and 9 are the main emphasis of the exhibition, which shows how innovation, sustainability, and education are advancing society. A seed that takes root in the ground, grows, flowers, and eventually gives fruit is reflected in the show.Exemplary projects on the ground floor, "The Soil," provide Uzbekistan's transition into reality. The shift to a green economy is the main topic of discussion in the sustainability section. Models and interactive materials highlight energy-efficient building practices, renewable energy projects, and sustainable modes of transportation. The innovation area showcases developments in industry, infrastructure, and urban planning, such as the New Tashkent project and the Japanese government's assistance in reviving the Aral Sea. Innovations in technology and society are portrayed as essential to economic growth and participation.The education section demonstrates the integration of contemporary learning techniques with traditional crafts. Digital tools, youth artist training programs, and restoration initiatives for historic icons like the Bibi-Khanym Mosque—where cutting-edge technologies are applied to protect cultural heritage—are on show. A metaphorical landscape is created by the walls' layered panorama of contemporary infrastructure, architectural outlines, and historic patterns. These components come to life through animated projections that chronicle the nation's change.Pepper's Ghost projections, animated infographics, and interactive 3D models are all included in the display. Exhibits that appear to be growing out of the ground itself are made visible by special lighting fixtures that highlight Uzbekistan's progress and expansion.A 360-degree multimedia projection surrounds a rising platform at the center of the pavilion. The "seeds of knowledge," which are shown as shining roots and representations of Uzbek workmanship, sprout at the start of the three-minute walk from the ground floor to the terrace. The Registan madrasahs' kaleidoscopic animations give way to their actual construction. The visual experience is accompanied by music and voices that combine contemporary soundscapes with classical instruments. The audience joins a universe of communication in which ideas and information spread like pollen. When the projection opens, it displays Uzbekistan's expansive natural landscape entwined with high-speed rail, renewable energy initiatives, and urban developments. A pomegranate tree, which represents a lively and rejuvenating Uzbekistan, blossoms in the center. The audience members themselves become the seeds of the future as the act comes to a poetic close, walking straight from the platform onto the pavilion's terrace.The exhibition's visual identity is founded on a design that blends traditional ornamentation with contemporary clarity. The exquisite stucco ornamentation of Uzbek buildings, calligraphy, iconography, and wayfinding features were inspired by Ganch carving. These create a pleasing conversation between space and images because they are somewhat three-dimensional and partially built into the walls. Earthy tones and geometric shapes symbolize fertile ground, signifying development and metamorphosis, while the font and color palette adhere to a natural style.Ground floor planFirst floor planCross-sectionLongitudinal sectionAtelier Brückner is a leading design studio and museum planner known for innovative visitor experiences. Founded in 1997 in Stuttgart, it has completed over 220 international projects, employing over 130 people and receiving 350 awards.Find out all pavilions on WAC's Osaka Expo 2025 page. Project factsProject name: Garden of Knowledge – A Laboratory for a Future SocietyArchitects: Atelier BrücknerBuilding height: 11.6 m Building width: 38.8 m Building depth: 33.9 mSite area: 1,036 sqm Building footprint: 635 sqm Total floor area: 1,272 sqmNumber of levels: 2 (Ground floor + terrace) Visitors experience area: 860 sqmClient: Uzbekistan Art and Culture Development Foundation (ACDF), part of the Ministry of Investment, Industry, and Trade of the Republic of UzbekistanAtelier Brückner: General contractor, architecture, exhibition design, scenography, graphicsMedia planning with: medienprojekt p2Light planning with: KleeMedia concept & production: Tamschick Media+Space GmbH Realization: NÜSSLIAll images © Josef Šindelka courtesy of Atelier Brückner.All drawings © Atelier Brückner. > via Atelier Brückner

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Svrzo's house, an iconic representation of the rich residential heritage in Bosnia and Herzegovina, has recently undergone a comprehensive and meticulous restoration and partial reconstruction as  essential renovation works, and is now once again open for visitors. This historic house, which holds significant cultural importance in Bosnia and Herzegovina within the context of Sarajevo's architectural landscape, has been restored with a keen focus on maintaining its original character and integrity. The reconstruction efforts are ensuring that the cultural and historical essence of the building is preserved for future generations. The building is located in the Glodjina street in the municipality Old Town in Sarajevo.Image of Svrzo’s house entrance with wooden gallery. Image © The Museum of SarajevoOffering a glimpse into the past of this vibrant town, Svrzo's house is not merely a structure; it presents the stories and lifestyles of those who lived in the house. The renovation process involved a careful assessment of the building's materials and design elements, prioritising the use of traditional techniques and local craftsmanship. This approach not only honours the house's historical significance while further supports the local economy and artisans.Image of drinking water tap and flowers in the courtyard of Svrzo’s house. Image © The Museum of SarajevoUnfortunately, many projects similar to Svrzo's house have faced abandonment and stagnation, primarily due to challenges in management, financing and the complexities associated with preserving such culturally rich sites. Financial constraints often hinder the necessary investments required for comprehensive restoration and reconstructions, leading to the deterioration of valuable heritage properties. However, the successful reopening of Svrzo's house serves as an example for future initiatives to restore and maintain the historic fabric of Sarajevo, ensuring that the town's unique heritage continues to be celebrated and shared with locals and visitors.Image of flowers in the garden of Svrzo’s house. Image © The Museum of SarajevoAs many houses constructed in the latter half of the 18th century, the building features a courtyard with a garden which is adorned with local flowers, roses, trees and a drinking water tap. Some aspects of residential buildings in Bosnia and Herzegovina have been discussed and find more in previous articles by World Architecture Country Reporter and architect Emina Čamdžić.Svrzo's house1 is an authentic example of the Bosnian architecture from the 18th and 19th century.This building with its courtyard and many building areas, was a private family house built in the traditional Bosnian style, and today serves as a museum of Bosnian architecture. The family house is built from the materials adobe clay and wood, with sloped roof.The Shakespeare's Globe Theatre Another project that reconstruction was done entirely in authentic materials, mostly of English oak wood, is the Shakespeare's Globe Theatre2 in London.The Shakespeare's Globe Theatre is a theatre building in London and a whole reconstruction - replica of the original Globe Theatre, which was an Elizabethan theatre built in the year 1599. The significant, known writer William Shakespeare wrote his plays for the Globe Theatre. The building is located in London on the south bank of the river Thames. Since the reconstruction, the theatre building has opened its doors to many visitors and theatre enthusiasts while having plays every year since the reopening.Image of Shakespeare's Globe Theatre in London. Image © Sourav Niyogi3 via Wikimedia CommonsThe original building had a 16th century design, while the new reconstructed building had to meet modern safety regulations and elements. The theatre is located on the almost same site as the original building because listed townhouses in London are built on the original site and could not be considered for removal.The building of the Shakespeare's Globe Theatre is built with wooden construction, consists of a wooden stage and the amphitheatre covered by a characteristic roof from straw, while all construction elements had to meet safety regulations to be built in the 20th century.The amphitheatre, a key component of the theatre building, is uniquely covered by a sloped roof built from straw, which not only adds to the historical authenticity of the theatre while serves as a reminder to the original Globe Theatre that was built in 1599. However, the construction of this roof from straw in the 20th century was a significant achievement, as it had to comply with strict safety regulations associated with such materials. Due to these law regulations, the Globe Theatre is the only building with roof from straw permitted in London in the modern times, underscoring the challenges faced by architects and builders who sought to blend the historical accuracy with contemporary safety standards.Image of wooden auditory balconies of the Shakespeare's Globe Theatre. Image © Daniel from Glasgow, United Kingdom4 via Wikimedia CommonsThe building evokes the essence of the original, even though theatre technology as seen in contemporary theatres did not exist at that time. With its open spaces, balconies and wooden stage elements, the building had to adhere to standards of modern design and construction standards.ConclusionThese projects serve for future initiatives for reconstructions, restorations and maintenance of historic typologies, ensuring that the unique heritage of towns continues to be celebrated and shared with local residents and visitors.Top image: Svrzo’s house with stone paved courtyard. Image by the Museum of Sarajevo. Retrieved 8 January, 2025 from (https://www.facebook.com/photo/?fbid=1058106839445628&set=a.509137014342616) via the Museum of Sarajevo Facebook page. Svrzo's house information. Retrieved 9 January, 2025 from (https://www.facebook.com/MuzejSarajeva) via the Museum of Sarajevo Facebook page. Copy-Paste into your browser.The Shakespeare’s Globe Theatre information. Retrieved 10 January, 2025 from (https://en.wikipedia.org/wiki/Shakespeare%27s_Globe) via Wikipedia. Copy-Paste into your browser.Image: Shakespeare's Globe Theatre in London. Image by Sourav Niyogi. Retrieved 10 January, 2025 from (https://commons.wikimedia.org/wiki/File:Shakespeare%27s_Globe_Theatre,_London.JPG) via Wikimedia Commons (Public domain). Copy-Paste into your browser.Image: Wooden auditory balconies of the Shakespeare's Globe Theatre. Image by Daniel from Glasgow, United Kingdom. Retrieved 10 January, 2025 from (https://commons.wikimedia.org/wiki/File:Shakespeare%27s_Globe_(27816935889).jpg) via Wikimedia Commons (CC BY 2.0). Copy-Paste into your browser.

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Peruvian curators, Alex Hudtwalcker (Lead Curator), Sebastián Cillóniz, Gianfranco Morales, and José Ignacio Beteta, along with the Patronato Cultural del Perú (pacupe), have announced the theme for the Peru Pavilion at the 2025 Venice Architecture Biennale. Titled Living Scaffolding, in the Venice Arsenale, Living Scaffolding creates a huge wooden scaffold. The distilled knowledge of the Uros and Aimara people, who live around Lake Titicaca in the Peruvian highlands, more than 3800 meters above sea level, is infused throughout this work. Antonio Jallahui, leader of the Uros-Titino island on Lake Titicaca with a totora reed block that makes up the island’s underwater structure. Photo Curatorial TeamThe setting, known as the highest navigable body of water in the world, allows the curators to respond to curator Carlo Ratti's call for "One Place, One Solution." It showcases the region as a living epicenter of ancestral knowledge, which has achieved remarkable accomplishments through the sophisticated and refined use of totora, a material that has been utilized since ancient times.Curatorial Team. From left to right: Alex Hudtwalcker, Gianfranco Morales, Sebastián Cillóniz, Jose Ignacio Beteta. Photo courtesy of PUCPThe show at the Sala d'Armi, the location for the Peru Pavilion, will run from May 10 to November 23, 2025. José Orrego Herrera, a Peruvian architect who has been the commissioner since 2012, will take on the position once more.Eric Frattini, The Uru Expedition led by Kitin Muñoz, 1988. Aimara artisans working over the scaffolding of the totora reed raft in Punta Negra beach, Lima. Photo Eric Frattini. Private Collection. Courtesy of Eric FrattiniThe building of the giant Uru totora reed raft, which embarked on an unprecedented sea trip in 1988 to connect South America and Polynesia, is revisited in the show. The ship was constructed on a beach south of Lima and sailed for 54 days. Dozens of workers labored for several weeks amidst massive bundles of hemp, lumber, and totora ropes. A key component of this team effort was a massive wooden scaffold that allowed eight Aimara craftsmen to work together to create a 10-ton, 20-meter-long raft.To construct the raft, these craftspeople, who were skilled in the usage of totora, a material vital to their cultural legacy, turned to their ancestors' wisdom. The Uros floating islands on Lake Titicaca were constructed using techniques similar to theirs. These islands, which are primarily composed of totora, are a live example of a self-renewing, cyclical architectural system that preserves information that is impervious to time and the elements. The intricacy of these structures, however, comes from their versatility rather than their permanence. Eric Frattini, The Uru Expedition led by Kitin Muñoz, 1988. Volunteers and expeditioners working alongside the artisans above the scaffolding of the totora reed raft. Photo Eric Frattini. Private Collection. Courtesy of Eric FrattiniTotora is a subspecies of the giant bulrush sedge, found primarily in South America. It grows in regions such as Lake Titicaca, the central coast of Peru, and Easter Island in the Pacific Ocean. This plant can reach heights of up to 6 meters (20 feet), though it typically grows to around 4 meters.Both the raft and the islands, which are prone to natural deterioration, depend on little but necessary auxiliary structures, materials, and instruments that blend in with and support these floating bodies, enabling these enormous endeavors. Similar to how the wooden scaffold was required to assemble the raft, the islands need supporting structures to stay moored while they are being built. Craftspeople, volunteers, and explorers were able to move above and below the raft and modify its components thanks to this system.Eric Frattini, The Uru Expedition led by Kitin Muñoz, 1988. Great Uru raft on the large wooden scaffold. The raft was 20 meters long, 4 meters wide, and weighed 10 tons. Photo Eric Frattini. Private Collection. Courtesy of Eric FrattiniThe wooden scaffolding, similar to that used to build the Uru totora reed raft or the stilts that hold Venice in place, takes on new life and significance at the Arsenale, where ships were previously built on the sea. It recalls the memory of long-gone volumes of totora, together with the same ropes and timbers used to stabilize the islands. Visitors are encouraged to look at, live in, and surround the piece, which echoes the methods used by Aimara artisans to construct the raft and the methods now used by the people of the Uros islands to construct and maintain their floating dwellings.Eric Frattini, The Uru Expedition led by Kitin Muñoz, 1988. Launch at the Callao Nautical Club in Lima to begin its journey to French Polynesia. Photo Eric Frattini. Private Collection. Courtesy of Eric FrattiniLean Curator Alex Hudtwalcker is an architect by Universidad Peruana de Ciencias AplicadasAlex Hudtwalcker Architects, collaborating with local architects and international offices. Sebastián Cillóniz is architect and professor. He earned his degree from Pontificia Universidad Católica del Perú (PUCP) and holds a master’s degree in Science in Advanced Architectural Design from Columbia University in New York. He currently teaches design and theory at PUCP and is the director and principal architect at Sebastián Cillóniz Arquitectura.Eric Frattini, The Uru Expedition led by Kitin Muñoz, 1988. Uru raft sailing. Photo Eric Frattini. Private Collection. Courtesy of Eric FrattiniJosé Ignacio Beteta holds a Master’s degrees in Public Administration by UPC – Peru and Public Management by Universidad Politécnica de Cataluña. Finally, Gianfranco Morales ia an architect by UPC with a master’s degree in Architecture from Pontificia Universidad Católica de Chile. His academic background includes studies at ETSAM (Madrid), PUCP (Lima) and ETSAB (Barcelona), among others. Eric Frattini, The Uru Expedition led by Kitin Muñoz, 1988. Uru raft sailing. Photo Eric Frattini. Private Collection. Courtesy of Eric FrattiniThe 2025 Venice Architecture Biennale will take place from May 10 to November 23 November 2025 at the Giardini, the Arsenale and various venues in Venice, Italy. Besides Peru's contribution, other contributions at the Venice Architecture Biennale include Switzerland's Endgültige Form wird von der Architektin am Bau bestimmt, Iceland's exhibition Lavaforming, Estonia's Let Me Warm You exhibition, the Romanian Pavilion's "Human Scale" exhibition, the Luxembourg Pavilion's Sonic Investigations exhibition, the Albanian Pavilion's "Building Architecture Culture" exhibition, the Turkey Pavilion's "Grounded" exhibition, the Pavilion of the United Arab Emirates's "Pressure Cooker" exhibition, the Finland Pavilion's "The Pavilion – Architecture of Stewardship" exhibition. The top image in the article: Eric Frattini, The Uru Expedition led by Kitin Muñoz, 1988. Aimara artisans working over the scaffolding of the totora reed raft in Punta Negra beach, Lima. Photo Eric Frattini. Private Collection. Courtesy of Eric Frattini. > via Peru Pavilion 

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Foster + Partners has imagined a village-like Saudi Arabia Pavilion with meandering streets at Expo 2025 Osaka. The Kingdom of Saudi Arabia Pavilion for Expo 2025 Osaka is open to the public in Osaka, Japan. The pavilion features angular buildings that form winding streets between them. This project draws inspiration from Saudi Arabian culture, highlighting its vibrant streetscapes and stunning natural landscapes.The Pavilion, which was designed by Foster + Partners and is situated on the Yumeshima waterfront, offers a setting for immersive engagement that introduces visitors to the Kingdom's hidden treasures while creating a spatial experience that mirrors the discovery of Saudi Arabian towns and cities.The landscaped forecourt acts as a barrier to protect the pavilion from harsher northerly windsAs the project achieves the highest level of the Japanese green building grading system (CASBEE S) and will be net zero operational emissions, the highly sustainable and inclusive Pavilion was created with its legacy in mind.Visitors are invited to explore a ‘village’ of meandering streets, with windows and doorways into a series of immersive spaces"An epic journey of new discovery""We are delighted to see the Saudi Pavilion open to the public and ready to welcome its first visitors on an epic journey of new discovery," said Luke Fox, Head of Studio, Foster + Partners."The project is a celebration of Saudi Arabian culture, evoking the wonderful streetscapes and captivating natural landscapes that define the Kingdom.""Every element has been carefully considered to create a one-of-a- kind experience that is highly sustainable and accessible to everyone," Fox added.The central courtyard allows for moments of quiet reflection during the dayThrough the forecourt, which is filled with native Saudi Arabian plants, visitors enter the Pavilion. They then proceed down winding walkways to the Saudi Courtyard, the focal point of the design. The Courtyard serves as a space for concerts and performances at night and provides opportunities for peaceful contemplation during the day. A "village" of winding streets with windows and doorways leading into a number of immersive areas created in close cooperation with Journey - which includes 59 Productions and Squint/Opera - is then open for visitors to explore. Journey was formed by uniting the award-winning studios ICRAVE, Squint/Opera, 59 and VMI Studio.In addition to honoring Saudi Arabia's architectural legacy, the project gives tourists a sense of location and gives them a look at the daily activities and urban fabric of the Kingdom's streets.The pavilion creates a spatial experience that echoes the exploration of Saudi Arabian towns and cities"It create" meaningful connections""The Saudi Pavilion is also designed to create meaningful connections between the visiting public and Saudi Arabia’s incredible artists and musicians. By engaging all of the senses, the space allows visitors to experience the national transformation of Saudi Arabia," said Tony Miki, Partner, Foster + Partners. "It is its own urban microcosm that carefully balances tradition and heritage with modern technologies which is shaping the Kingdom’s future. We have worked closely with Journey to ensure that the immersive digital content is holistically integrated within the architectural design," Miki added.The massing of the Saudi Pavilion has elements of the natural forms of old Saudi villages. These ideas were developed in the practice's design, which was meticulously created using computational fluid dynamics models to let cool westerly winds enter the streets during the hottest part of the summer. The façade is made from a lightweight Saudi stone composite system and designed to be efficiently deconstructed and reassembled, or completely reconfigured, to meet different requirements in a future locationThe manicured courtyard serves as a barrier to shield the pavilion from stronger northerly breezes during the cooler months of April and October.The Saudi Pavilion has made history as the first temporary structure to receive the WELL Health and Safety Rating (HSR) certification. This achievement underscores its commitment to health and safety standards while showcasing innovative design principles. Constructed from low carbon materials, the pavilion aligns with the objectives of the Saudi Green Initiative, emphasizing sustainability and environmental responsibility. Its design incorporates energy-saving luminaires and rooftop photovoltaic technologies that harness solar energy, further enhancing its eco-friendly credentials.Visitors are invited to explore a ‘village’ of meandering streets, with windows and doorways into a series of immersive spacesIn striving for minimal environmental impact, the Saudi Pavilion is engineered to be as lightweight as possible. This approach reduces the amount of concrete required for its foundations, reflecting a commitment to sustainable construction practices. The pavilion's innovative structural system relies on a jointless DfMA-based (Design for Manufacturing and Assembly) design, which integrates a steel moment frame with precast reinforced concrete slabs supported by steel beams. This configuration not only adheres to ductile design principles suitable for high-seismic zones but also facilitates rapid construction and stringent quality control.The exterior of the Saudi Pavilion features a lightweight composite system made from Saudi stone, designed with an emphasis on efficiently deconstructing and reassembling. This allows the structure to be completely reconfigured to meet varying requirements at different future locations. Immersive spaces have been designed in close collaboration with Journey (59 Productions and Squint/Opera)While designed for flexibility, the facade also creates an impression of permanence, blending functionality with aesthetic appeal. Overall, the pavilion stands as a testament to modern architectural advancements that prioritize sustainability, safety, and adaptability.The design is shaped through inclusive design principles. The site features a thoughtfully designed ramped entrance that accommodates its gradient, providing a single entryway for all visitors. At the center, a sunken stage is fully retractable, allowing it to be raised to ground level for equitable participation among performers. The courtyard transforms into a venue for performances and events at nightWheelchair-accessible spaces are integrated into the audience seating, ensuring everyone can enjoy performances together. The restaurant offers innovative seating areas at various levels to enhance the dining experience, and its restrooms include a ceiling track hoist, promoting dignified and independent movement for individuals needing physical assistance—making it one of the first facilities of its kind in Japan.Immersive spaces have been designed in close collaboration with Journey (59 Productions and Squint/Opera)Additionally, a calm room designed with neuro-inclusion principles provides a quiet space for visitors needing a break from sensory stimulation. All signage throughout the facility is presented in Japanese Braille, along with written Japanese and English, ensuring accessibility for a diverse audience.The pavilion’s massing recalls the organic shapes of traditional Saudi villagesMasterplanLevel 1 planLevel 2 planRoof level planLong and short sectionsThe six-month Osaka Expo 2025 will take place on Yumeshima Island in Osaka Bay from April 13 to October 13, 2025.Recently, Foster + Partners unveiled design for a stadium for Manchester United club that is designed to be "outward-looking." In addition, the firm revealed plans for a masterplan for a 38-hectare site at the heart of Constanța, a port city in the Dobrogea historical region of Romania.Project factsProject name: KSA Pavilion, Expo 2025 OsakaArchitects: Foster + PartnersLocation: Osaka, JapanClient: Kingdom of Saudi Arabia, Ministry of CultureCompletion date: 2025Site area: 3,505m2Total floor area: 3,542.54m2Number of floors: 2Height: 16.66m / Length: 103.7m / Width: 34.06mCapacity: 23,100 visitors per dayLocal architect: Azusa SekkeiExhibition designer: 59 Productions, Squint OperaFoster + Partners design team: Norman Foster, Luke Fox, Tony Miki, Nick Haddock, Juan Zhang, Farah Caswell, Wolfgang Muller, Jiannan Luo, Xiaonian Duan, Yue-Qi Hou, Mingchen Liu, Luigi Rodrigues Durando,Chi Yen Fu, Xiaomin Zhang, Ami Matsumoto, Natasha Rieffel, Alan Cheng, Ken Ho, Nadia Saki, Ioanna Nika, Hang Sia, Lorenzo Luzzi, Sarah Abiad, Caio Ribeiro, Jiahao Syu, Jordan Bizzell, Pierre Zebouni.Main contractor: RIMOND JapanMechanical engineers: Azusa SekkeiCost consultant: Turner & TownsendLandscape consultant: Foster + PartnersLighting consultant: Foster + PartnersFaçade consultant: FrontGraphics & Wayfinding Designer: Bright Dot DesignFood & Beverage Consultant: Humble ArnoldPeople Moving Strategy Consultant: Buro HappoldConstruction Project Manager: Black EngineeringThe top image in the article: The pavilion’s massing recalls the organic shapes of traditional Saudi villages.All images © Nigel Young courtesy of Foster + Partners.All drawings © Foster + Partners.> via Foster + Partners

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Quebec-based architecture practice Matière Première Architecture has built a pair of building that act as an evolving showcase in the mountainous landscapes of Quebec, Canada.The two buildings, named Atelier Matière Première – Nu Drom, were designed by Matière Première Architecture and built simultaneously by the construction firm Nu Drom. One building is dedicated to artisanal production, while the other serves as a space for work, reflection, and public engagement.The Eastern Townships of Quebec are home to the architecture firm Matière Première Architecture. Since 2016, the two teams have been working closely with Nu Drom, a construction company that is its sister company. They have been looking for a permanent location to establish their shared identity, which is based on the smooth fusion of design and building.A fundamental project began with the chance to jointly purchase a plot near the town of Magog's entryway with a third partner from the woodworking sector. Although the office building is the subject of this discussion, both buildings were intended to be a cohesive architectural ensemble that was consistent in both placement and materiality.A new architectural concept that is highly sensitive to its surroundings arises in this charming area of Quebec, which is well-known for its hilly scenery and verdant forests. Atelier Matière Première-Nu Drom, which faces Mount Orford and is situated on a pine-covered property with a view of Highway 10, is more than just an architectural intervention; it provides a tactile and immersive experience.Once the location of a well-liked restaurant and rich in local memories, the site served as the backdrop for Matière Première and its crew as they rooted a modern vision that carefully considers both natural and cultural legacy."Designing here meant listening first—listening to the land, to the site’s history, and to our own needs as creators," said Etienne Chaussé, co-founder of Matière Première Architecture.A building that lives with the landscapeThe office building's simple design, which draws inspiration from traditional country architecture, is intended to serve as a dynamic exhibition space for the studio's artistic output. No two experiences in the space seem the same because to the thoughtfully positioned floor-to-ceiling windows that provide delicate light plays that change with the hours and seasons."We wanted the building to live and breathe in rhythm with its surroundings,” explained Marc-Antoine Chrétien, project architect. "Each opening was designed to establish a permanent, almost organic connection with the outdoors."If left untreated, the white cedar cladding will eventually take on a silvery patina that will reflect the building's gradual transformation in its natural environment.A deliberate threshold between built and naturalIn the project, landscape design was crucial. The location was picked for its views, but it was also highly valued for its unspoiled nature. Much of the terrain was preserved in its natural state to preserve this integrity. The design team used well-placed pavers and modest concrete planters with grasses and conifers to create a distinct boundary between the built and undeveloped areas. In order to subtly demonstrate human presence while honoring the ecology, a visual and experiential buffer between the building and its forested surrounds was intended.Interior spaces of light, warmth, and flexibilityInside, the architecture strikes a mix between ambiance and functionality, openness and intimacy. The bottom floor's more public areas and the creative studio above are connected by a sculptured stairway made of folded steel with an oak top that serves as a spatial hinge."The exposed beams and fabric-lined millwork are not just aesthetic choices," explained Samuel Godin, project manager. "They contribute to the tactile and acoustic experience, bringing softness and calm to the workplace."The interior design was similarly flexible. The ground level, which is now a showroom, was designed to be easily transformed into further office space as needed, ensuring longevity without requiring demolition."Anticipating future needs to avoid unnecessary renovations is a core part of thoughtful architecture," added Francis Provost, landscape architect and project manager.Thermal comfort and the role of natural lightFrom the first drawings, thermal comfort and daylight performance served as a guide for decisions about design. The carefully placed glass façades maximize natural light intake and aid in controlling inside temperature. The glass wall on the southern elevation is purposefully set back from the building envelope, forming a thermal buffer that reduces summertime solar heat gain and increases wintertime passive heat. Low-angle afternoon sunlight is blocked by an external timber screen to the west, offering visual comfort without sacrificing the area's landscape connection. This skillful blending of passive techniques contributes to the creation of stimulating and cozy environments. Here, the firm's architectural approach treats natural light as a living material.A shared process, a shared placeThere was a sense of shared authorship throughout the design process. Throughout the whole project, architects, carpenters, and landscape designers collaborated closely, erasing boundaries between specialties and cultivating a strong sense of pride and ownership. As a result, the workplace has been molded by the hands and minds of its current occupants in addition to the goal. The studio's philosophy—architecture that is felt as much as it is seen—is embodied in this harmony between concept and craft.Previously, Matière Première Architecture built a mini A-frame cottage, promoting a relaxed feel overlooking the lake in Estrie, Canada.Etienne Chausse, Marc-Antoine Chrétien, and Dominic Chausse formed the firm Matière Première Architecture, which is based in the Eastern Townships of Quebec. In 2016, they launched Nu Drom, a design-build company that integrates architecture and construction.  Project factsArchitect: Matière Première ArchitectureLocation: Magog, Quebec, Canada Area: 4600 sq ftContractor: Nu Drom ConstructionFurniture: Ghauz & Atelier Vaste Lighting: Lambert et fils, Artemide, DalsRoof: Mac metalSiding: Maxi-ForetFloors: Unik parquetCompletion year: 2024All images © Alex Lesage.> via Matière Première Architecture

Submitted by WA Contents 10th International Alvar Aalto Design Seminar: Checkpoint Finland Architecture News - Apr 22, 2025 - 13:00   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The 10th International Alvar Aalto Design Seminar – Checkpoint will be held on Tuesday, 10 June 2025 in the Main Building of the University of Jyväskylä (Alvar Aalto, 1954-55).Now is the time for Checkpoint! How is the design heritage renewing itself? How will authentic and human design, traditional crafts, and raw design flourish in the age of AI?Today, in 2025, it is the use of AI in design that gets people talking, while authenticity, humanity and craftsmanship are emerging as counterforces. On this occasion we will also pay homage to renewable heritage and tradition: this year marks 90 years since the founding of Artek, and 13 Aalto buildings have been nominated for inscription in 2026 as a UNESCO World Heritage Site. The one-day seminar opens up the challenges of today’s design field amidst major global changes. Three topical themes are Authenticity, Cohabitation and Evolution. We look with optimism towards a diverse future of sustainable development in design. The seminar’s first speakers are now listed: Designer Ineke Hans (NL), Professor Design & Social Context at UdK-Berlin (DE); Design Professor Ann Light, University of Sussex (UK) and Malmö University (SE); Design lead and entrepreneur Zeynep Falay Von Flittner, Falay Transition Design (FI/TUR); Design historian and curator Kaisu Savola, Aalto University (FI); Industrial designer Harri Koskinen, head of Friends of Industry Ltd. (FI) and CEO Hanna Neuvo, FYRA Design Agency (FI).The Alvar Aaalto Foundation invites you to follow the live programme on Tuesday, June 10, 2025, starting 11 am at the Main Building of the University of Jyväskylä. The English-language event will be streamed to a global audience. Take advantage of Early Bird ticket prices before the end of April 2025. Join now and take your friends, students, colleagues with you! Virtual participation in the seminar is free of charge! Even different time-zones are no obstacle: after registration the recordings will be available until the end of September. For tickets click here.Versatile side programmeThe seminar side programme on 10.–11.6.2025 is dedicated to design heritage. This year marks 90 years since the founding of Artek, and 13 Aalto buildings have been nominated for inscription in 2026 as a UNESCO World Heritage Site. The open to all lecture connected to the Artek anniversary and Visibly Invisible – Artek´s Drawing Office 1936–20024 -exhibition will be held on Tuesday 10.6. by Timo Penttilä and Antti Tevajärvi of Artek 2nd Cycle at the Aalto2 Museum Centre. The side programme provides also guided visits to Alvar Aalto Architectural sites, such as Säynätsalo Town Hall, University of Jyväskylä Campus (10.6.), Villa Mairea and Paimio Sanatorium (a bus tour 11.6. Jyväskylä-Noormarkku-Paimio-Helsinki). There are limited places for the guided tours, so act quickly! For tickets, as well as reduced price group tickets, click here.The International Alvar Aalto Design Seminar was established 30 years ago as a discussion forum in the spirit of Alvar Aalto's functional and ecological design. Visual identity of the event has been since beginning by Graphic designer, Artist Aimo Katajamäki. The event is arranged every third year alternately with the Alvar Aalto Symposium and Alvar Aalto Researchers’ Seminar. Produced by the Alvar Aalto Academy / Alvar Aalto Foundation together with the main partner, the City of Jyväskylä, and other 2025 partners, Aalto University, Archinfo, Artek, Cumulus Association, Finnish Design Shop, Finnish Design Info, Habitare Pro, and the University of Jyväskylä.The top image in the article courtesy of The Alvar Aaalto Foundation.> via The Alvar Aaalto Foundation architecture event

Submitted by WA Contents The 24th Triennale Milano International Exhibition will be held from May 13 to November 9, 2025 Italy Architecture News - Apr 22, 2025 - 13:21   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The 24th International Exhibition, under the titles Inequalities, will run from May 13 to 9 November, 2025. The Triennale Milano has organized International Expositions every three years since 1923, inviting designers, architects and artists from around the world to engage with a key contemporary theme.After tackling the themes of sustainability with Broken Nature (2019) and the mysteries of the universe with Unknown Unknowns (2022), the 24th International Exposition closes this trilogy by focusing reflection on the human dimension and addressing an urgent and political issue such as the growing inequalities that characterize cities and the contemporary world. Inequalities is a collective project that, through exhibitions, installations, special projects and events, questions the global challenges related to the differences present in various spheres of existence: from economic to ethnic, from geographic origin to gender.The 24th International Exhibition also includes a section devoted to international participations, solicited under the auspices of the BIE - Bureau International des Expositions.Read more about the exhibitions & installations here. The top image in the article: Photography by Johnny Miller/Unequal Scenes.> via Triennale Milano architecture event

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The France Pavilion at the Osaka World Expo 2025, created by the French architecture firm Coldefy in collaboration with the Italian design and innovation firm CRA-Carlo Ratti Associati, is currently open until October 13, 2025.With its design framing moments of presence, movement, and connection, the France Pavilion is intended to be a "theatre of life." The Pavilion's architecture, which draws inspiration from mise-en-scène, or stage design and layout, is a flowing series of spaces that lead visitors through shifting perspectives that reflect the beginning, transition, pause, and departure rhythms of daily life.The Japanese tale of Akai Ito, the invisible red thread that binds destined souls, serves as the inspiration for the design. The Pavilion reclaims physical space as a forum for conversation in an era characterized by digital estrangement. A peaceful inner garden provides sanctuary, highlighting the importance of interactions with nature as much as with each other.Its dynamic façade responds to light and wind thanks to 17-meter-high fabric veils that resemble theater curtains and are suspended along two sides. A meticulously planned sequence of steps leads through the Pavilion, rising to an indoor exhibition, changing between indoor and outdoor areas, and culminating with a return to the Expo grounds.With its circular design and prefabricated and modular components, the Pavilion reflects a vision of architecture that is as flexible as life itself by ensuring that its materials may be disassembled and reused.The architectural concept of the Pavilion is based on sensory experience and theatricality. Visitors are welcomed into an expanding experience by the balcony and entrance stairway, which constitute a stage. As a component of the building's façade, the winding staircase blurs the lines between the Pavilion's inside and exterior and fosters a conversation between the two, making everyone feel welcome and open.Visitors travel a round route that circles the center of the exhibition, passing through various themed areas before exiting into a tiny garden and returning to the Pavilion for one more outdoor experience. In contrast to conventional linear experiences, this journey echoes the Pavilion's overarching themes by reflecting cycles and pulsations while showcasing French savoir-faire or knowhow.Three "acts" are used by visitors to experience the Pavilion: The first is the ascent, which leads to an observation deck via a sensuous staircase.  Second, Exhibition Journey: As visitors enter, they make their way through a number of carefully planned areas where they come across installations and scenic features related to the Pavilion's themes. Garden Interlude: Upon exiting, guests are greeted by an auditory landscaped space that provides a chance for introspection before returning to the internal areas.Final Transition emphasizes the rhythmic flow between inside and outdoors, the journey comes to a close with a return to the open air and the Expo site."Infused with a spirit of play, the France Pavilion is a dynamic, flexible space that sparks unexpected encounters. In an era of increasing polarization, physical space offers a much-needed antidote. Unlike the digital realm, it forces us to confront diversity and engage with perspectives that might challenge our preconceptions," said Carlo Ratti, founding partner of CRA and Curator of the 19th International Architecture Exhibition of the 2025 Venice Architecture Biennale. "This mirrors the mission of today’s World Expos, as vibrant hubs for open dialogue and discovery. It’s an honor to bring CRA’s ongoing research to Osaka and contribute to France's part in this global dialogue – a place that has shaped so much of my thinking, from studying at the École des Ponts to this moment," Ratti added.The Pavilion embraces modularity and material reuse in its circular approach. In addition to being a dynamic visual feature, its movable curtain facade is made to be disassembled and reused following the event.To make future dismantling easier, the Pavilion incorporates as many temporary and prefabricated elements as feasible. For instance, the office spaces are housed in container structures. These design decisions ensure minimum impact on the environment, simplicity in reconfiguration, and flexibility after the Expo. The Pavilion is an adaptable building that reflects how architecture and exhibition spaces are changing in response to modern issues rather than being a static monument."The France Pavilion invites visitors to enter the theatre of life. Both actors and spectators in this production, visitors traverse a path through the Pavilion that is an expression of the symbiosis between humanity and its environment," said Thomas Coldefy, founding partner of Coldefy."It’s an honor to have been chosen to design the France Pavilion, and we truly believe that the World Expo has the potential to create a moment of reflection – about how we live, what we value, and how design can shape better futures. Even a brief experience – whether it’s a spatial gesture, a surprising material, or a shared moment – can resonate deeply," Coldefy added.French architecture studio Coldefy and Italian architecture and innovation practice Carlo Ratti Associati unveiled the design of the French Pavilion at Osaka Expo 2025 in January 2024. Site planCirculation DiagramAxonometric DiagramFacade ActivationProgram DiagramPavilion DiagramGround Floor PlanLevel 1 Floor PlanLevel 2 Floor PlanLevel 3 Floor PlanLevel 4 Floor PlanSite SectionCRA-Carlo Ratti Associati is a global design and innovation firm with offices in New York City and Turin, Italy. The office, which draws from Carlo Ratti's work at the Massachusetts Institute of Technology (MIT), is currently working on numerous projects all over the world that cover every possible intervention scale, from furniture to urban planning.Thomas Coldefy and Isabel Van Haute established Coldefy, a global architecture and urban planning firm, in 2006. The firm has offices in Lille, Paris, and Shanghai. Coldefy's sensitive architecture produces balanced environmental, urban, and social compositions that push the limits of cities and living, and there are projects and construction sites all over the world.Project factsProject name: France Pavilion, Osaka World Expo 2025Location: Osaka, JapanSurface: 3,600 m2 Net AreaProject Cost: 22 M EurosProgramme: Exhibition halls, reception hall, office, shop, café Environmental Certification: CASBEEWinning Competition: 2023 Delivery: 2025Project Owner: COFREX General Contractor: RimondProject TeamClient: COFREXArchitects: Coldefy + CRA-Carlo Ratti AssociatiLocal architects and engineers: Yasui SekkeiGeneral contractor: Rimond TeamColdefy: Thomas Coldefy, Isabel Van Haute, Zoltán Neville, Martin Mercier, Marianna Guarino, Léo Akahori, Leonardo Ronchi, Shuai WangCRA-Carlo Ratti Associati: Carlo Ratti, Andrea Cassi (partner in charge), Ina Sefgjini, Gizem Veral, Zeynep Kalaycioglu, Jelena Krco, Gabriele Sacchi, Alba Leon Alvarez, Marie Petrault, Antoine PiconPartnersLocal Architects & Engineers: Yasui SekkeiCompetition Partners: Bollinger + Grohmann (Structural engineers), Coloco (Landscape architects), Ramboll (Environmental engineers), de_form (Graphics/signage) Scenographers: Justine Emard, GSM ProjectAll images: France Pavilion at the Osaka World Expo 2025 © Coldefy & CRA-Carlo Ratti Associati. Images © Julien Lanoo.All drawings © Coldefy + CRA-Carlo Ratti Associati.> via Coldefy & Carlo Ratti Associati

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Jean & Ric Edelman Fossil Park & Museum of Rowan University has officially opened its doors, inviting visitors into a one-of-a-kind experience that bridges Earth's prehistoric past with the urgent environmental challenges of today. Designed collaboratively by Ennead Architects (Design Architect), KSS Architects (Executive Architect), and G&A (Experience Design), the 44,000 Sq-ft (~4085 Sq mt) museum is both a scientific gateway and a sustainable architectural landmark nestled into a 65-acre (~43560 Sq ft) fossil quarry in Southern New Jersey.Situated atop a site of rare geological importance, the museum sits at the very place where sedimentary layers preserve evidence of the asteroid impact that triggered the mass extinction of the dinosaurs some 66 million years ago. This active quarry, where visitors of all ages are invited to dig for real fossils alongside scientists, becomes the foundation for a larger narrative: one of planetary reckoning, discovery, and future-facing action.Evening exterior looking over dig siteImage Credit © Jeff Goldberg / EstoEnnead’s architectural vision began with a single question; How can design embody both the weight of extinction and the hope rooted in scientific inquiry?.The resulting building does not stand as a monument, but as an instrument; one that frames the visitor's encounter with deep time and invites a conversation about the Earth’s future. Drawing inspiration from the idea of a camera obscura, the museum is composed as a constellation of timber-clad pavilions, each anchored by an aperture that acts as a lens. These openings connect interior and exterior, exhibition and excavation, past and future.Cretaceous gallery.Image Credit © Jeff Goldberg / EstoInside, the museum experience designed by G&A which is immersive and participatory. Visitors traverse from land to sea in richly imagined Cretaceous galleries, dig for fossils in the adjacent quarry, and explore hands-on exhibits that animate scientific discovery. RFID-based scavenger hunts, a virtual reality chamber, and an array of full-scale prehistoric reconstructions guide guests through a sequence of wonder, reflection, and call to action. A promontory overlook and nature trails thread indoor and outdoor experiences together, reinforcing the idea that science is not passive it’s lived, touched, and unearthed.Main EntryImage Credit © Jeff Goldberg / EstoThe museum offers a dynamic and immersive experience, thoughtfully curated to engage visitors of all ages. From full-scale reconstructions of extinct species to hands-on exhibits, every element is designed to bring the prehistoric world vividly to life. A virtual reality chamber transports guests to the age of dinosaurs, while live animal attractions create a bridge between past and present biodiversity. Visitors can also explore a state-of-the-art collections and conservation facility, attend screenings and events in a 138-seat theater, or simply unwind in community gathering spaces that maintain a strong connection to the natural world.Covered porch and promontory overlooking dig siteImage Credit © Aislinn Weidele / EnneadA cafe with an outdoor veranda provides a serene overlook of the adjacent quarry, inviting moments of reflection and pause. This quiet interlude complements the museum’s broader mission—encouraging deeper consideration of Earth’s ancient past and the ongoing story of our planet.Lower level stair to lobbyImage Credit © Jeff Goldberg / EstoBeyond its captivating displays, the museum is designed to inspire action. Interactive kiosks distributed throughout the space highlight urgent issues around climate change and biodiversity, prompting guests to engage meaningfully with the environmental challenges of today. The goal is not just to educate, but to empower—ensuring that each visitor departs with a renewed sense of stewardship for the planet.Thomas Wong, Design Partner at Ennead Architects, reflects on the deeper vision behind the project: “The Edelman Fossil Park & Museum is ultimately a place of perspective—a place where science and architecture converge to place humanity in the context of our planet’s history, to frame not just what has come before, but what might come next. In bearing witness to an extinction event from Earth’s deep past, we are reminded of the fragility of life and the power of human agency.”More than a place of learning, the Edelman Fossil Park & Museum is a platform for planetary stewardship. Designed to be one of the largest public net zero carbon emissions buildings in New Jersey, the architecture integrates a range of sustainable strategies: geothermal wells, an all-electric mechanical system, carbon-sequestering heavy timber construction, bird-safe glazing, and restored ecological landscapes. It’s a regenerative ethic made tangible, one that mirrors the museum’s mission to empower communities to act on climate and biodiversity.Main Lobby and covered porchImage Credit © Jeff Goldberg / EstoAs a cultural and environmental landmark, the project underscores the belief that understanding the past is essential to shaping the future. In the shadow of Earth’s fifth mass extinction, the Edelman Fossil Park & Museum attempts to offer perspective, agency, and hope. Through the seamless collaboration between Ennead, KSS, and G&A, this transformative institution is now open not just as a museum, but as a movement.Project factsYear: 2025Location: Mantua, New JerseySize: 44,000 GSFProgram: Lobby, Auditorium, Exhibit Galleries, Theatre, Research Workshop, VR Chamber, Café & Gift Shop, Administrative Offices, Active Fossil Dig in Quarry, Outdoor TrailsDesign Team: Ennead Architects / Thomas Wong, Don Weinreich, Marissa Sweig Trigger, Julia Chapman, Ursula Trost, Kailey Baker, Luccas Dias, Darla Elsbernd, Bettine Gachstetter, Masha Konopleva, Eliza Montgomery, Stine PedersenArchitect of Record: KSS ArchitectsExperience Design: G&ALandscape Architect: SEED Design / Yaki MiodovnikEngineer & Sustainability Consultant: BuroHappold EngineeringThe top image in the article: Dusk exterior, looking across the pond. Image credit © Jeff Goldberg / Esto.Images © Jeff Goldberg / Esto, Aislinn Weidele / Ennead Architects.> viaEnnead Architects

Submitted by WA Contents Also Architects creates art museum made of umbrella-like bamboo structures and undulating fabric China Architecture News - Apr 21, 2025 - 11:07   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Also Architects has created an art museum made of umbrella-like bamboo structures and white undulating fabric at the R-Day Music Festival in Chengmai, Hainan, China.Named Urban Nomad Art Museum, the modular structures, spanning 350 square meters, create a temporary yet dynamic cultural exchange hub for the Urban Nomad Art Museum along the coastal shores of Chengmai, Hainan. The main design challenge was to ensure fast assembly, simple disassembly, and adaptable reconfiguration for sustainable reuse while also seamlessly fitting in with the museum's philosophy of "borderless curation." The project aims to go beyond its transient nature by using a creative modular strategy that fosters profound cultural resonance within its constrained timeline and provides flexible opportunities for future uses in a variety of situations.Resonance in SyncAs sound waves move through a medium as mechanical vibrations, various frequencies combine to create intricate aural experiences. Resonance, which is not limited to the physical world but also manifests in human emotions and social interactions, is the result of items sharing a common inherent frequency. This phenomenon promotes a feeling of comprehension and connection. Also Architects has created a number of modular art works based on the idea of "sound waves," taking inspiration from this phenomenon. Invisible vibration frequencies are converted into a concrete, open spatial field by the design, which mimics the shape and path of sound diffusion and propagation.The umbrella-like structures represent the resonance of sound and the connections made via shared emotions as they rise and converge in space like musical notes. These installations encourage people to come together, discover the power of vibration, and open up countless opportunities for communication and connection in a public setting.  While the undulating cloth at the top represents changes in vibration frequency, the umbrella-like structures' hexagonal contours replicate the concentric waveforms of sound dispersal. The three main configurations of the modular units—linear arrays, circular enclosures, and flexibly scattered layouts—allow them to be tailored to various functional requirements. These installations were put together to create a marketplace and a forum area during the R-Day Music Festival, specifically designed to fit the lively vibe of the event.Cyclical Construction Bamboo was selected as the main material for the Urban Nomad Art Museum due to its adaptable Eastern beauty as well as its innate ecological philosophy, which reflects the designers' consideration of a temporary structure's entire lifecycle. The symbiotic relationship between natural materials and industrial logic is embodied in the structural design: In order to achieve a balance between firmness and flexibility, the bamboo ribs are curved using heat-bending processes, while a central steel ring acts as a fixed structural anchor in the core. Bamboo's inherent pliability enables flowing, smooth arcs, and precisely designed modular connections precisely link it to metal components. The tightly stretched cloth canopy is more than just a cover; pre-applied tensile stresses through steel tubing give it a funnel-like shape that gives it a suspended appearance. Intentional holes in the fabric let sunshine and sea air through while reducing wind pressure disruptions. A temporary pavilion that is both sculptural and breathable is the product of the dynamic balance achieved by the interaction of steel, bamboo, and fabric. In addition to ensuring effective modular assembly, lightweight metal connectors enable possible reconfiguration in various locations. After the music festival is over, the constructions will be broken down into separate parts. The bamboo parts will be turned into urban furniture, and the cloth will be recycled into creative and cultural goods.By converting art into a recyclable cultural medium, this "reversible construction" idea frees it from the curse of single-use consumption. This strategy is in line with the ecological knowledge of nomadic societies, where giving and taking are balanced.Contextual Adaptation The design of these installations translates nomadic culture into tangible spatial strategies: The arrangement adjusts to different functional requirements by changing array densities, rotating angles, and module counts. A semi-sheltered passage is created in the market area by a continuous canopy of modular units. The acoustic environment in the performance area is improved by the reflective surfaces created by the staggered modules. Sea breezes can easily flow through the loosely laid-out relaxing area. Together, the market, lounge, gathering, and exhibition spaces create a comprehensive creative and lifestyle experience that is both connected and unique. This adaptable strategy guarantees flexibility for a range of roles in future contexts in addition to accommodating on-site modifications in real time. The geometric order of the hexagonal module itself conveys inclusion and fluidity, embodying the spatial aesthetics of migratory civilizations. One of nature's most effective geometries, the hexagonal form is seen in turtle shells and honeycombs. It represents both the natural ability to disassemble and reassemble as well as logical order. These modular installations reimagine how art travels and flourishes across geographies, much how nomadic tribes shift with the seasons and easily reassemble their tents into houses on new pastures.These disassembled bamboo modules, which hold the memory of sea breezes, will be put back together to create new cultural landscapes in various towns after the festival's energy wanes. Modularity is the architecture that enables art to continuously change; it is not a sterile industrial phrase. It doesn't aim for permanence, but every time it moves, it has meaningful conversations with new people and locations.  Finding lighter, more flexible methods for art to exist is at the heart of the Urban Nomad Art Museum's work. This approach to sustainable building might be the key to reintegrating public art into daily life.Project factsProject name: Urban Nomad Art MuseumCuratorial institution: R-Day Music Festival & Urban Nomad Art MuseumCurator: Ottavio ZhangProject location: HaikouProject area: 350m2Event time: January 2025Design Team: Valo Xiao, Ziming Ye, Jane Zhang, April LoLighting design: WOY LightingConstruction unit: Innovbamboo Architectural Technology Co., Ltd.Main materials: Bamboo, MetalAll images © INSPACE.Drawing © Also Architects.> via Also Architects

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" New York-based architect Annabelle Selldorf and Chinese architect Ma Yansong have been named as the world's most influential architects in TIME 100 Most Influential People List. Releasing its 100 Most Influential People each year, the TIME listed Selldorf Architects founder Annabelle Selldorf and MAD founder Ma Yansong as the most influential  architects. Selldorf was named among other world renowned Artists, including American actress and singer Scarlett Johansson, American actor Daniel Dae Kim, and American actress and singer Kristen Bell.Yansong was named among other world renowned Innovators, including American rapper Snoop Dogg, CEO of BlackRock Larry Fink, British-American entrepreneur Tim Cadogan, and scientist Ismahane Elouafi."Reimagining monumental architecture"Called "for reimagining monumental architecture" in her citation, Annabelle Selldorf was praised for her transformative expansion of the Frick Collection on Manhattan’s Upper East Side."Annabelle is known for reimagining monumental architecture, most recently the Frick, opening in April, and the Sainsbury Wing of London’s National Gallery, which opens in May. As we walked along the rocky shore, she was preoccupied with the sky, with the color of the clouds. She was thinking about how to paint the ceiling of the Frick’s new auditorium," wrote photographer Annie Leibovitz."Annabelle’s mission is to make art accessible to the widest range of visitors possible. The spaces she creates are meant to accommodate large numbers of people, but they are not overpowering. They are sensitively and deftly restrained. The entrance to the Frick is no longer hard to find. Everyone can walk in through the same front door. Visitors can explore the museum at their own pace. “I get lost and feel the better for it,” she says. And the DNA of the beautiful rooms is intact. Her work embodies the values she holds dear. Art and life are not separate," Leibovitz stated."Yansong is at the forefront of a massive change in architecture that will transform our structures for generations"Chinese architect Ma Yansong, who recently completed the Fenix, the first art museum dedicated to exploring migration as its central theme will open to the public on 16 May, was praised for "being at the forefront of a massive change in architecture that will transform our structures for generations."Ma Yansong's achievements have also been praised for his work on the One River North (ORN) residential tower in Denver, the Fenix Museum, and the Lucas Museum of Narrative Art.In his citation by George Lucas, an Oscar-nominated filmmaker and philanthropist, Lucas wrote that "I have been a fan of architect Ma Yansong from his earliest works. His designs never cease to amaze and inspire me." "This year, he has unveiled projects that include a striking building in Denver that takes inspiration from canyons, and Fenix, a spiraling new art museum in the Netherlands that explores human migration. Like his mentor, the great Zaha Hadid, he has been at the forefront of a massive change in architecture that will transform our structures for generations," wrote George Lucas. "It’s why I was so excited to collaborate with him on the Lucas Museum of Narrative Art, which opens next year. I believe visitors will come not just for the collection, but also the building—it’s a work of art in and of itself. Ma is a great and willing partner in the creation process. It is a joy working with him," Lucas stated.In 2024, architects Lesley Lokko and Marina Tabassum were featured in TIME 100 Most Influential People List. The top image in the article (left to right): Annabelle Selldorf (image © Stephen Kent Johnson, courtesy of Selldorf Architects) and Chinese architect Ma Yansong (image © Greg Mei).> via TIME 

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" MVRDV and Zecc Architecten have won a competition for the transformation of the St. Francis of Assisi Church in Heerlen into a public swimming pool. The transformation, known as Holy Water, preserves the historic features of this national monument while giving the abandoned church a new, social purpose. The 1,270-square-metre conversion of a church will feature a public pool with accompanying facilities.EntranceThe area that was originally the church's nave is made more adaptable by a movable swimming pool floor, which enables it to accommodate a range of activities beyond swimming. Additionally, the floor allows for the creation of a thin layer of water that fills the entire room, giving guests the impression that they are walking on water.The St. Francis of Assisi Church in Heerlen, in the southern Netherlands, was constructed more than a century ago. In 2023, it ceased to hold services, giving the municipality the chance to find a new use for the structure. In addition to providing a solution for the growing number of visitors to Heerlen's existing pools, a new pool in this national monument will revitalize the abandoned structure with its recognizable silhouette in the heart of the city. The church's makeover is part of a broader expansion in the city center that also includes the refurbishment of the Royal-Rivoli movie theater and the opening of a Roman museum.Pool and choir viewThe main entrance is designated by a lighted circular canopy in the design, which serves as both a modern feature that unites the old and the new and a nod to the church's history. Once inside, guests can make their way along the aisles to the back of the church, where they can find the catering area and changing rooms. These passageways are divided from the main pool area by glass walls.Carefully removing the current floor will provide space for the swimming pool. By repurposing the church pews, they will be incorporated into the glass walls that divide the pool, offering swimmers seats on one side and bar tables for onlookers on the other. A lifeguard is seated in the antique pulpit, which has been given a new purpose.Restaurant view from poolBecause the bottom of the pool can be raised and lowered, swimmers of all ages and skill levels can engage in a variety of activities. In its most extreme position, the floor can be lifted all the way, concealing the pool below and restoring a level floor so that social and cultural activities can take place there as well. Additionally, a shallow layer of water might cover the entire pool area. With the correct illumination, visitors will be able to "walk on water" inside the church as the interior is reflected in this little pool."The vacancy rate of churches is increasing, so we need to come up with new, creative ideas for what we can do with these buildings," said Winy Maas, founding partner of MVRDV. "Why not give these churches a social function again, as they used to have? A public swimming pool is ideally suited for this. Imagine: swimming the backstroke with a view of a church vault and stained-glass windows.""By covering the entire pool area with a small layer of water, you can also create a beautiful visual effect, allowing the church to return to its original form and appear even larger and more impressive through the reflection," Maas added.Restaurant colonnadeBoth the moveable pool floor and the pool's surroundings will be adorned with a brand-new mosaic floor. This will make reference to the church's current stained-glass windows, colors, and materials. In response to the numerous murals that Heerlen has to offer, the design for this floor will be created in partnership with regional artists. The four rows of lights above the pool serve as lane markers for the swimmers and are modeled after the ancient church lamps seen in old photos.The ability to adequately and sustainably heat the pool area while shielding the historic materials from the pool's dampness was a special architectural problem. Raised floor for eventsTo address this, the pool's glass walls provide a compartmentalizing effect that safeguards the artwork and stained glass. In order to prevent excessive heat loss and preserve the interior view of the ancient brickwork, the church's roof will be insulated from the outside.The current roof covering will be replaced following insulation. For improved acoustics, sound-absorbing panels will be installed on the wooden roof, which will remain in place. Air management units in the basement have been subtly integrated with the technical installations. This strategy maintains the church's original features as much as possible while guaranteeing a cozy and energy-efficient interior environment.Mirror churchMVRDV, Zecc Architecten, IMd Raadgevende Ingenieurs, Nelissen Ingenieursbureau, and the construction economics firm SkaaL collaborated to produce the design for Holy Water. It is anticipated that the first dive will occur at the end of 2027.SectionSectionRecently, MVRDV won a competition to design a new structure in Zhubei, Taiwan. The project integrates a market and food hall with cultural spaces. In addition, the firm completed a new visitor and experience centre with a stack of rotated volumes offering expansive views at the Port of Rotterdam in the Netherlands. Moreover, the firm unveiled design for a shopping mall made up of a stack of colorful boxes in Chengdu, China. Project factsProject Name: Holy Water Location: Heerlen, Netherlands Year: 2025Client: Gemeente HeerlenArchitect: MVRDV, Zecc ArchitectenFounding Partner in charge: Winy MaasDirector: Gideon MaaslandDesign Team: Gijs Rikken, Magda Porcoțeanu, Justin Vermeulen Copyright: MVRDV Winy Maas, Jacob van Rijs, Nathalie de VriesDesign Team (Zecc Architecten): Bart Kellerhuis, Roy van Maarseveen, Thijmen HilhorstStructural engineer: IMDCost calculation: SkaalBuilding physics: Nelissen IngenieursbureauAll images & drawings  © MVRDV and Zecc Architecten.> via MVRDV

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Heatherwick Studio has remodeled the Coex Convention Centre with "a fortress-like façade" in Seoul, South Korea. Heatherwick Studio was selected in a competition to redesign the appearance and function of Seoul's Coex Convention Center. The project offers a chance to revitalize one of South Korea's most well-known conference and exposition locations.The design, which was created in partnership with the Korea International Trade Association (KITA), will turn the existing generic glass building into a gathering spot that captures Seoul's dynamic energy. At the moment, Coex is 350 meters long and has a generally nondescript front that does not convey the building's significance as a national center for innovation, trade, and culture. "Cabinet of Curiosities"The conference center is transformed into a place to explore and a cause to visit the region even when not attending a formal event thanks to the studio's winning design, which presents a daring concept based on the notion of a "Cabinet of Curiosities." Modular "boxes" of various sizes are stacked along the perimeter of the design, creating dynamic areas for conferences, public events, and exhibitions. The goal is to maximize the reuse of materials in order to produce a new front that departs from the current structure's fortress-like aspect and is open, captivating, and unmissable. "Ironically for places that bring people together, most conventions centres feel imposing and uninviting and are often devoid of public activity," said Stuart Wood, Executive Partner and Group Leader at Heatherwick studio."Our design will radically reinvent Coex to become a new cultural destination for the city of Seoul that attracts both locals and visitors alike," Wood added.The "display case" design, which is unique and varied, is a real depiction of Seoul's creative potential and offers countless opportunities to arrange art, performance, food, entertainment, and nature. The studio's goal is for Coex to develop into an alluring location that is vibrant, open, and constantly culturally relevant. More than conventions Beyond changing the building's appearance, the renovation seeks to make it blend in with the neighborhood more naturally. The ground floor will be transformed into a public area with a variety of activities to entice both tourists and residents to stay and explore. The Gangnam community will have a place to congregate whether or not they are attending an event thanks to the new public realm's connection to the nearby park. In addition to enabling public access to a sky garden and viewing deck with sweeping views of Seoul and the Han River, the higher floors will also have new indoor and outdoor areas that will support official functions. Even when there aren't any significant events happening at the location, the experience is still meant to be thrilling and relevant. Sustainability at the core of the projectA significant dedication to sustainability is incorporated into the studio's plan, guaranteeing that Coex would not only meet but surpass future environmental norms.These features—maximizing material reuse, boosting energy efficiency, enhancing interior and outdoor environmental comfort, and promoting tourists' and residents' general well-being—are given top priority in the project. The project, which is expected to be completed in 2029, will add to the studio's expanding portfolio in South Korea, which already includes a new plan for Hanwha Galleria in the Gangnam region and the reimagining of Nodeul Island on the Han River.Heatherwick Studio revealed plans for the transformation of South Miami’s Sunset Place with "permeable buildings" in Florida, United States. In addition, Thomas Heatherwick was appointed as the General Director of the 5th Seoul Biennale of Architecture and Urbanism, which will take place from 1 September to 31 October 2025. The 2025 program will explore "how to make buildings and cities radically more joyful and engaging," responding to Thomas Heatherwick's Humanise Campaign and drawing on the city's ambition for a human-centered and climate-friendly future. All renderings © Devisual.> via Heatherwick Studio

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Czech architecture studio Jan Žaloudek Architekt has converted an old Baroque barn into a light-filled house with perforated gable wall in the Kamenná Lhota, Czech Republic.Named House Oskar, the 180-square-metre house is located on the South Bohemian settlement of Kamenná Lhota. The architect Jan Žaloudek created the House Oskar, which was constructed on a spacious garden that had once belonged to the nearby chateau. The remains of a Baroque barn, old trees that date back centuries, and a stone wall that encloses the large property and opens into the charming countryside all contribute to the site's extraordinary genius loci.Contemplation, Inspiration, RecreationThe architect constructed the home for himself and his family, emulating the ideas of reflection, inspiration, and leisure. He and his spouse, art scholar and author Jolanta Trojak, had long envisioned a location where people might reconnect with nature or withdraw inward to regain their mental and physical fortitude. In addition to encouraging relaxation, they wanted the area to be a source of inspiration and creativity, two things that are essential to their daily existence.They built an environment where even the most basic daily activities may be transformed into brief but meaningful experiences by paying close attention to every little detail. The House Oskar is a singular microcosm—a peaceful haven where people may read, write, eat, and create in harmony with the cosmos beyond their windows.Perfection, Imperfection, TimelessnessThe physical characteristics of the area and the limitations of constructing on a site that is protected by cultural heritage influenced the design of the house. In order to avoid overpowering the château and to give it a timeless quality, the architect meticulously incorporated the building into the surrounding environment and historical setting. The final building, which was inspired by the concept of a chapel—lacking in the village—is a tasteful fusion of inside and exterior, modern and ancient, perfection and imperfection.By referencing the vocabulary of regional agricultural structures, the design honors the traditional elongated shape of homes with gabled roofs. The distinguishing characteristic of the building is its perforated masonry, which features air and light holes present in neighboring historic buildings. The wooden shading panels on the other façades are inspired by this element, which also serves as a sunshade for the southern gable wall. Niches on each façade—allusions to Baroque morphology—permeate the house's compact form. These niches provide adaptable shading by forming loggias and entry vestibules. The house can either seal off to emphasize its meditative quality or open completely to the surroundings, bringing its occupants closer to the outside world.The materials used in construction respect the regional identity of the nearby buildings and scenery. Reinforced concrete components and insulated ceramic masonry make up the load-bearing structure. The white stucco facade mimics the texture and color of nearby structures. Whitewashed Czech fir and spruce are used to make the shade panels, and fired ceramic tiles cover the roof.Natural Cycles and LightNatural cycles and the passage of daylight are closely linked to daily life in the home. Residents may see the dawn and moonrise from the bedroom and the main living area, which opens onto a panoramic view of the orchard. The social area is connected to the courtyard and the barn ruins by the southern façade, which features an amazing circular window and a perforated gable wall. Huge openings that flow into wooden terraces, lush foliage, and the cool embrace of old stone walls perfectly blend the indoors and outside.The home is protected from village views by its entry alcove on the western façade. Echoing the curving shapes of the neighboring Baroque château, a domed niche in the northern gable lets light into the utility, bathroom, and bedroom areas.White shade panels can be used to control the amount of sunlight that enters the house during the day. A sunny room can be transformed into a mystical, enclosed area with captivating light and shadow play in a matter of seconds. The light changes direction at night, and the home beams into the surrounding landscape, lit by its incandescent recesses. Japanese washi paper lanterns and the flickering light of a wood-burning fireplace are used to enhance the interior's basic white lighting fixtures.Sacred InspirationThere is an original interior behind the house's classical morphology. Warm and rounded, the interior contrasts with the white exterior. Its holy theme is highlighted by the main space's unexpectedly large, seven-meter-tall vaulted roof. Large aluminum-framed windows and white stucco walls accentuate the room's ethereal feel. The two-meter-wide circular window that pierces the house's southern gable is another example of ecclesiastical architecture.A curving wooden kitchen with an island composed of Indian Shivakashi granite that resembles a church altar serves as the interior's main feature. The focal point of every everyday routine is this. A 19th-century wooden carving of the Madonna overlooks the dining area with an oak table and seats in the southern portion of the room. On the other side of this is a lounging spot with a long sofa that overlooks the courtyard with its barn remains and the surrounding countryside. A tapestry composed of undyed sheep's wool frames the sofa.The ground floor comprises one of the bedrooms, a laundry room, a bathroom, and a toilet in addition to the main living space. The architect's custom-made stone and wood furniture around the house gives it a unified look. This features matching bedside tables, a black granite bench in the entryway, and solid oak beds and closets.The upper level is intended to be a distinct apartment with a studio, bathroom, and bedroom. The attic is a confined, cocoon-like place that is perfect for reading, creating, and reflecting, in contrast to the ground floor, which has an open link to the outside world. Cultivated by arches and recesses, the white, tiny cavern is lit by small roof windows.Art in Every DetailThe family values art greatly, and their collection includes both modern and Czech Modernist pieces. This passion for art permeates every aspect of their house. In addition to a large-format modern painting by Antonie Stanová and sculptures by Michal Janiga, the bedroom has a 19th-century Japanese panneau. In the attic, stone sculptures by Vanda Hvízdalová are on exhibit on travertine platform.Every element of the home reflects the family's curatorial style. A wooden ceremonial mask from Gabon greets guests in the entry hall, and Martin Hanuš's original pottery and an African stool made from a single piece of wood are featured in the main living room. Isamu Noguchi created the sculptured Akari lights that light the attic and bedrooms. A sizable library of art books contributes significantly to the atmosphere of the house.A Living GesamtkunstwerkThe owners wish to share the House Oskar, which is named after the cosmopolitan composer Oskar Nedbal, who wrote his operetta Polish Blood at the nearby château. The public can hire this one-of-a-kind Gesamtkunstwerk or use it as a space for workshops, pop-up events, and artist residencies. Around the house, the owners hope to cultivate a lively community of imaginative and motivating people.Site planGround floor planAttic floor planEast elevationWest elevationSouth elevationNorth elevationProject factsProject name: House OskarArchitects: Jan Žaloudek ArchitektLocation: Kamenná Lhota, 391 33 Borotín, Czech RepublicCompletion year: 2025Built-up area: 180m2Gross floor area: 171m2Usable floor area: 154m2All images © BoysPlayNice.All drawings © Jan Žaloudek Architekt.> via Jan Žaloudek Architekt

Submitted by WA Contents Call for submissions: (Re)engaging Cities Landscape for Cultural and Economic Vibrancy Vietnam Architecture News - Apr 17, 2025 - 20:13   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Calling creative minds and innovative urban and architectural design students (bachelor and master) around the world, the committee of the 4th International Design Competition is looking for smart and sustainable solutions to reimagine Nha Trang’s urban landscape!Along the river bank of the Cai Rivers, a heritage route will soon be built. This vision comes with a challenge on balancing the growth of economics and the conservation of cultural beauty. Taking up this challenge, the fourth year of the International Design Competition is now more than a design challenge; it is a global platform where we inspire the next generation to envision future cities that harmoniously blend innovation and tradition.As part of the competition, participants will have the opportunity to engage with leading experts, exchange cutting-edge ideas, and contribute meaningful solutions that foster sustainable urban development.Are you ready to be a changemaker in shaping the future of our cities?Location: Nha Trang City, Khanh Hoa Province, Vietnam.Registration Fees: FreeCompetition Period: March, 2025 - October, 2025.Submission deadline: July 15th, 2025.Participants eligibility: Undergraduate students and Master students ( all around the world (maximum 3 students can form a team).Total Awards: 5,700 USD, come together with being featured in a special session of Smart Urbanisms & Beyond Book series published by UEH Press; Experiment and Exploring Tour; Exhibition and sharing with partners; Opportunity to be supported with flight tickets and accommodation in Nha Trang City.Visit the competition page.List of Jurors:We are proud to present a diverse panel of 30 jurors from around the globe, including Vietnam, Thailand, Italy, Belgium, Korea, China, Singapore, Macao, the United States, Australia, and New Zealand. Each juror is a recognized expert in architectural design, urban design and urban development planning.- Assoc. Prof. Tu Anh Trinh, Director, Institute of Smart City & Management, College of Technology and Design UEH University, Vietnam- Dr. Tuan Nguyen Anh, Head General Planning Management Department, Department of Planning and Architecture, Vietnam- Prof. Elena Marchigiani, Department of Engineering and Architecture,University of Trieste, Italy- Assoc. Prof. Kitapatr Dhabhalabutr, Dean, Faculty of Architecture, Khon Kaen University, Thailand- Prof. Kelly Shannon, Director of Master programs, KU Leuven University, Belgium- Assoc. Prof. Yingsawad Chaiyakul, Lecturer, Faculty of Architecture, Khon Kaen University, Thailand- Dr. Tuan Pham Anh, Head of Department of Landscape Architecture (DLA), Faculty of Architecture & Planning Hanoi University of Civil Engineering (HUCE), Vietnam- Dr. Le Thi Thu Huong, Academic Coordinator of Architecture bachelor's program, Senior Lecturer of Sustainable Urban Development master's program, Vietnamese-German University, Vietnam- Prof. Ducksu Seo, Department of Spatial Environment System Engineering, Handong Global University, Korea- Dr. Son Do Xuan, Faculty of Civil Engineering, Ho Chi Minh City University of Technology and Education, Vietnam- Dr. Adrian Lo, Director of the Urban Design and Development International (UDDI) program, Thammasat University, Thailand- M.Arch Steven Petit, Creative Director/ Landscape Architect, OMGEVING, Belgium- Prof. Bruno De Meulder, Coordinator of Master Programs, KU Leuven University, Belgium- Assist. Prof. Juhyun Lee, Department of Urban Planning and Design, Xi’an Jiaotong-Liverpool University, China- Prof. Barbara E.A. Piga, Coordinator of the Laboratorio di Simulazione Urbana Fausto Curti, Politecnico di Milano, Italy- Assoc. Prof. Jinhyun Hong, Associate Professor, Department of Smart Cities, University of Seoul, Korea- Dr. Lan Hoang Ngoc, Senior Lecturer, Institute of Smart City & Management, Former Vice-Dean, Urban Planning Faculty, University of Architecture Ho Chi Minh City UEH University, Vietnam- M.Arch Long Pham Duc, Lecturer, Faculty of Civil Engineering, Ton Duc Thang University, Vietnam- Dr. Vinh Nguyen Quoc, Head of Department of Architecture, Faculty of Civil Engineering Ho Chi Minh City University of Technology, Vietnam- Assist. Prof. Kon Kim, Department of Urban Planning and Design, Xi’an Jiaotong-Liverpool University, China- Dr. Harvey Neo, Programme Director & Professorial Research Fellow, Singapore University of Technology and Design (SUTD), Singapore- Prof. Sergio Proença, Faculty of Arts and Humanities University of Saint Joseph, Macao- Dr. Filipa Martins, Assistant Professor at the Faculty of Arts and Humanities, University of Saint Joseph (USJ), Macao- Prof. Nuno Soares, Head of Department of Architecture and Design, Faculty of Arts and Humanities University of Saint Joseph, Macao- Dr. Rachel Jahja, Lecturer, School of Communication & Design, RMIT Vietnam, Ho Chi Minh City, Vietnam- Assoc. Prof. Jittisak Thammapornpilas, Department of Urban and Regional Planning, Faculty of Architecture Chulalongkorn University, Thailand- Dr. Sarah Howard, Interim Vice President for Advancement and Strategic Relations, The Boston Architectural College, United States- Assist. Prof. Shusak Janpathompong, Director of the International Program in Design and Architecture, Faculty of Architecture Chulalongkorn University, Thailand- Assoc. Prof. Iderlina Mateo-Babiano, Associate Professor in Urban Planning and Assistant Dean, Diversity and Inclusion, University of Melbourne, Australia- Assoc. Prof. Manfredo Manfredini, Programme Director of Architecture, School of Architecture and Planning The University of Auckland, New ZealandDownload the information related to this competition here: Brochure_Competition2025-compressed-compressed.pdf. The top image in the article courtesy of ISCM.> via ISCM architectural competition

Submitted by WA Contents Red pigmented gridded structure defines village-like Mexican sport facility by Sordo Madaleno Mexico Architecture News - Apr 16, 2025 - 05:16   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Interdisciplinary architecture, urban, and interior design firm Sordo Madaleno has created a sport facility for one of Mexico’s most long-lived football teams Atlas FC based in Guadalajara, Mexico.Named Academia Atlas, the 8,300-square-metre building was envisioned as a linear, gridded structure with monochromatic pigmented-red color to create a powerful sense of place on site.The village-like sports facility features street passages, intimate courtyards, and small town garden squares that "surprisingly" invite visitors into the structure.The structure accommodates six professional football fields and features clubhouses, applied sport science facilities, and administrative offices. An important function of the project is to provide housing and resources for young players from underprivileged backgrounds.Sordo Madaleno collaborated with Atlas FC and Orlegi Sports to convert the seven-hectare site into a collegiate-style campus bustling with vibrant, young, and healthy individuals connecting through the nation's most popular sport, utilizing locally-sourced materials and traditional construction methods.A modular system was used as the basis for designing the sports facility. Open-air spaces are formed at the intersections of elemental columns and beams, creating a grid-like effect as they frame the building. In the building's areas of greater density, the reticulated roof functions as a brise-soleil. Thanks to this modular system, the club can adapt or expand its interior spaces as needed in the future, all while making optimal use of materials for the project.The building encompasses external areas that offer softly shaded pathways throughout the complex, all within its designated rectangular volume of 8,300 square meters. They resemble street passages, intimate courtyards, and small-town garden squares. External staircases that punctuate these areas establish a robust connection and cultivate a sense of fluidity between the interior and exterior environments. The area for spectators also facilitates this link between interior and exterior along the western façade. It proved to be a highly adaptable space; when unoccupied, it functions as either a contemplative area or a relaxation spot. During matches, family, friends, and the general public gather to support their favorite players, turning the area into a lively hub. Athletes warm up using this stair-like structure during training."We wanted to create an enclosure within a vast flat landscape that is highly exposed to the elements, and we wanted to bring green areas inside Academia Atlas to show how important planting and wildlife are in giving us a sense of belonging somewhere," said Fernando Sordo Madaleno.The use of a single shade of red throughout the project connects to the identity of the football team and to traditional Mexican brickwork. The structure of pigmented concrete was cast on-site, whereas the floor’s concrete pre-slabs were pre-cast to allow for quick assembly on-site. The red bricks were specially designed for the building regarding proportion, dimensions, color, and structural functions. This led to the contractor taking advantage of a considerable reduction in waste throughout the construction process.The landscape design aimed to include only endemic species, allowing it to flourish in the environment throughout the various seasons. Additionally, the use of native species makes the planting low-maintenance and reduces its water consumption. It is encouraged to plant some things to climb the structure, which introduces a purposeful timelessness that helps establish a strong sense of place on a site lacking immediate scale or cultural reference points."Academia Atlas is about creating the right environment and facilities for the future development of young players making entry into elite football more widely accessible in Mexico," said Alejandro Irarragorri Gutiérrez Orlegi Sports Chairman."The project has also been conceived by us together with Sordo Madaleno to create jobs in Jalisco through local procurement processes while giving the region an important landmark promoting the role of sport in society," Gutiérrez added.The project serves as an intriguing case study on the application of a rigid modular system measuring 8.4 meter by 8.4 meter to create a building that is flexible, dynamic, and engaging due to its rich spatial qualities. It also serves as a model for how to redefine the building typologies of conventional sports architecture.Site planAxonometric drawingConcept planConcept plan structureGround floor planFirst floor planSectionSectionHand drawingSketchHand drawingIn preparation of Asturias' bid to host the FIFA World Cup in 2030, Sordo Madaleno and Orlegi Sports unveiled a proposal to renovate and remodel the El Molinón stadium, which is home to Real Sporting de Gijón. In addition, the firm previously designed a circular-shaped clubhouse nestled on the edge of a lake on the outskirts of Valle de Bravo in the State of Mexico.Sordo Madaleno, with 85 years of experience, is an interdisciplinary firm specializing in architecture, urban planning, and interior design.Project factsProject name: Academia AtlasArchitectural Project: Sordo Madaleno Partners: Javier Sordo Madaleno Bringas, Javier Sordo Madaleno de Haro, Fernando Sordo Madaleno de HaroArchitecture Director: Andrés Muñoz Alarcón, Edgar Beltrán NavasSordo Madaleno  Design Team: Daniel Laredo García, Josué Palacios Palma, Marisol Flores González, Enrique Contreras, Ricardo MondragónStructural Engineering: GGaxiola y AsociadosElectric Engineering: GRUCOA/C Engineering: SENSAIRESystems Engineering and Special Installations: DINETSYSHydrosanitary Engineering: IPLA- Instalaciones PlanificadasLighting Consultant: LUA- Luz en ArquitecturaLandscape Consultant: Plantica- Roberto HuberConstruction: Anteus Constructora Construction Area: 8,300m2Site Area: 66,047m2Completion year: January 2024All images © Edmund Sumner.All drawings © Sordo Madaleno.> via Sordo Madaleno

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Iceland Design and Architecture revealed details about its exhibition at the 2025 Venice Architecture Biennale. Titled Lavaforming, the exhibition will represent Iceland in its national pavilion at the 19th International Architecture Exhibition during the 2025 Venice Architecture Biennale. Lavaforming, curated by Arnhildur Pálmadóttir and developed by her team at s.ap architects, showcases a speculative future in which controlled lava flows create cities, and offers tangible experiments to illustrate the vast potential of this renewable resource that has long been regarded as a threat.Lavaforming. Image © s.ap architectss.ap architects, which features Arnar Skarphéðinsson as well, an architect and co-creator of Lavaforming; Björg Skarphéðinsdóttir, design specialist; and architect Sukanya Mukherjee has performed pioneering tests on materials to manipulate lava within a laboratory environment, which involves processes like re-melting it and casting it in molds. Lavaforming. Image © s.ap architectsThe results yield smooth, glass-like black bricks and columns—robust foundational elements for renewable infrastructure that pave the way for sustainable architecture in volcanically active areas like Iceland. Pálmadóttir was awarded the renowned Nordic Council Environment Prize in 2024 due to her emphasis on environmentally aware architectural practices.s.ap arkitektar, 2025. Image © Sonja Margret OlafsdottirNew tests, to be showcased in the Pavilion, have investigated the properties of lava as it cools under controlled conditions. The latest investigation focuses on the potential of basalt as a mono-material in construction and the possibility of creating entire structures solely from basalt lava. The experimental outcomes yielded by the team indicate a promising way ahead regarding what conditions are required to melt basalt and create material of sufficient strength to be utilized as a building material. The Lavaforming project poses the question: what would natural architecture on Earth be like if it were free from harmful mining and non-renewable energy extraction?.Lavaforming. Image © s.ap architects"As nations across the globe adapt to changing weather patterns in a warming world, it is essential that we involve architects, artists, and designers in conversations about solutions," said Iceland’s Minister of Culture, Innovation and Higher Education, Logi Einarsson. "Projects like Lavaforming allow us to explore groundbreaking ideas for designing with, rather than against, nature, which have enormous potential to be scaled and adopted widely. This project is an excellent example of the forward-thinking solutions being piloted by Iceland’s creative community to address the challenges of our time," Einarsson added.Lavaforming movie sketch. Image © s.ap architectsIn collaboration with s.ap architects, a multidisciplinary team—including writer Andri Snaer Magnason and musician/designer/technologist Jack Armitage—produces a short animated speculative film envisioning a city infrastructure built entirely from shaped lava. The film will showcase the viewpoints of six characters considering the world-altering advantages of this groundbreaking construction technology, which has revolutionized building methods and reshaped our climate change concerns. "Lava presents an enormous opportunity as a sustainable building material,” said Arnhildur Pálmadóttir, curator, architect, founder, and creative director of Lavaforming. "Our experiments demonstrate how we could one day create structures, and even entire cities, with lava. In our short film, we take the next step, imagining the year 2150 and a city made of lava. The project probes questions such as, ‘What does that city look like? How has this building material transformed human’s relationship to nature and the built environment? How has the paradigm for building shifted?," Pálmadóttir continued. Geldingadalir 2021. Image © Thrainn Kolbeinsson"Lavaforming is an exploration of materiality and ownership," said Arnar Skarphéðinsson, co-creator of Lavaforming. "We believe that the architecture profession today serves financial interest above all, and this limits its ability to positively affect society.""People cannot afford a home and are simultaneously uninspired by their urban surroundings; problems that are not due to a lack of creativity from architects, but rather the system and norms under which they operate." "The goal of this project is to offer a positive vision for our future that is unhampered by our current system. Lavaforming immerses visitors in our future vision where a local threat is transformed into a resource that addresses a global emergency," Skarphéðinsson added.Geldingadalir 2021. Image © Thrainn KolbeinssonIceland is participating for the first time in the International Architecture Exhibition of Venice Architecture Biennale with an open call. The Icelandic Pavilion is commissioned by Iceland Design and Architecture, which supports and promotes various forms of design as an essential element of the future Icelandic society, economy, and culture, with backing from the Ministry of Culture and Business Affairs in Iceland.Litli-Hrútur eruption in Iceland July 2023. Image © Thrainn KolbeinssonLitli-Hrútur eruption in Iceland July 2023. Image © Thrainn KolbeinssonThe Icelandic architect studio sap arkitektar is an interdisciplinary research studio with emphasis on speculative projects. Previously, Arnhildur Palmadottir proposed to create a new building material from molten lava to build an entire city in a few weeks, which aims to remove the carbon footprint on earth since "the eruption had already taken place" on an area.The 2025 Venice Architecture Biennale will take place from May 10 to November 23 November 2025 at the Giardini, the Arsenale and various venues in Venice, Italy. Besides Iceland's contribution, other contributions at the Venice Architecture Biennale include Estonia's Let Me Warm You exhibition, the Romanian Pavilion's "Human Scale" exhibition, the Luxembourg Pavilion's Sonic Investigations exhibition, the Albanian Pavilion's "Building Architecture Culture" exhibition, the Turkey Pavilion's "Grounded" exhibition, the Pavilion of the United Arab Emirates's "Pressure Cooker" exhibition, the Finland Pavilion's "The Pavilion – Architecture of Stewardship" exhibition. Find out all exhibition news on WAC's Venice Architecture Biennale page. Exhibition factsExhibition title: LavaformingCommissioner: Halla Helgadóttir, Iceland Design and Architecture.Curator: Arnhildur PálmadóttirExhibitor: s.ap architects: Arnhildur Pálmadóttir, Arnar Skarphéðinsson, Björg Skarphéðinsdóttir, Sukanya Mukherjee, Andri Snær Magnason, Jack ArmitageVenue: 2125 Ramo de la Tana, Venice (Near the main entrance of the Arsenale)The top image in the article: Lavaforming. Image © s.ap architects. > via Iceleand Pavilion 

Submitted by WA Contents Henning Larsen unfolds the potential of mycelium with 80 spheres at Milan Design Week Italy Architecture News - Apr 15, 2025 - 05:17   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Henning Larsen, in partnership with Politecnico di Milano, presents Growing matter(s) at Milan Design Week - a pavilion that investigates bio-based materials and innovative design aesthetics. As an interactive installation, situated in Via Bonardi 9, this exhibit demonstrates the possibilities of mycelium as a building material that is both living and evolving.Image © DSL StudioMade up of 80 spheres of mycelium, the pavilion features a unique shape for each sphere due to the natural growth process of the material. Mycelium, in contrast to conventional materials like concrete or steel, does not conform to uniformity. Its shape is determined by environmental factors, leading to textures and flaws that defy traditional design norms and honor the sophistication of biological systems.Image © DSL StudioThe Growing matter(s) pavilion offers a fresh viewpoint on architectural aesthetics—one that welcomes variation, decay, and transformation.Using organic substrates such as hemp, flour, sugar, and beer dregs, which were chosen with care, the spheres were cultivated and inoculated with two strains of mycelium: Pleurotus Eryngii and Pleurotus Ostreatus. Image © DSL StudioThe wooden molds were colonized by the mycelium over the course of several weeks. To ensure structural stability, one set of spheres was dried while the other was kept alive, permitting the material to evolve naturally.Each component of the pavilion strengthens its circular design tenets. Mycelium spheres decompose completely at the end of their lifecycle, making them fully biodegradable. Meanwhile, the scaffolding structure is fully borrowed, intended for disassembly, and will be reused after Milan Design Week.Image © DSL StudioHow do we design with materials that change over time?Henning Larsen, in partnership with Politecnico di Milano’s Material Balance Research Lab and with support from the Ramboll Foundation, designed the pavilion. RIMOND offers project management and extra sponsorship, while Spore.nl manages mycelium production and Di Falco srl handles scaffolding engineering.Image © DSL StudioImage © DSL StudioImage © Studio Laura EliseImage © Zoey KroeningImage © Zoey KroeningImage © Zoey KroeningImage © Zoey KroeningImage © Zoey KroeningImage © Zoey KroeningImage © Piercarlo Quecchia, DSL StudioImage © Piercarlo Quecchia, DSL StudioImage © Piercarlo Quecchia, DSL StudioDuring Milan Design Week, from April 7 to April 13, the pavilion is accessible to the public and will continue to be open until April 20.Project factsDesign: Henning Larsen, in partnership with Politecnico di Milano (Material Balance Research Lab)Sponsor: Ramboll FoundationSponsor and project management: RIMONDMycelium production: Spore.nlScaffolding engineering: Di Falco srlSize: 24m2Year: 2024-2025The top image in the article © Piercarlo Quecchia, DSL Studio.> via Henning Larsen