Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters.   Is an architecture firm designing its own studio the equivalent of an artist painting a self-portrait? (Should we coin the term “auto-architecture?”) Perhaps this isn’t a perfect analogy, but it certainly contains parallels that are productive to parse… Studio spaces are distinct from offices in that they not only shape daily rituals and structure relationships between colleagues but also act as an expression of the values at the core of the firm’s design philosophies. Freed from the usual constraints of client briefs, for many firms, designing their own workspace offers a unique opportunity for experimentation and self-expression. The studios featured in this collection span diverse geographies and contexts — from a vaulted school library repurposed as an “anti-office,” to a carbon-neutral warehouse conversion in Sydney, to a minimalist tiled atelier in Casablanca. Despite their differences, each workspace shares a commitment to thoughtful design that blurs the line between functions and offers a vision for cultivating creativity. More than places of production, these studios are active expressions of architectural identity; spaces that support not only what architects make, but how they make it. They also challenge outdated typologies and embrace the hybrid realities of contemporary practice. Skylab HQ By Skylab, Portland, Oregon After spending years in a historic structure in downtown Portland, the Skylab team decided the time had come to create a space that reflected the dynamic nature of their practice. They asked themselves: “How can our studio evolve from a dedicated workspace to a playground for the art and design community? Where can we find a space to integrate gardens, an event venue, and a fabrication shop, as well as our studio?” Leaving the downtown core, they opted to transform a pair of WWII-era prefabricated steel warehouses into a hybrid studio, fabrication lab and cultural venue supporting both architectural production and artistic exchange. Strategic insertions — like a 60-foot-long (18-meter) ridge skylight, 10-foot (3-meter) operable window walls and CLT-framed meeting rooms — maximize daylight and material contrast, balancing industrial grit with biophilic warmth. The adaptive reuse reflects the firm’s ethos of experimentation, extending their design process into the very architecture that houses it. Alexander House By Alexander &CO., Sydney, Australia Jury Winner, Architecture +Workspace, 10th Annual A+Awards Alexander House functions as both studio and experimental prototype, integrating low-carbon construction with hybrid live/work spatial typologies tailored to an evolving architectural practice. While functioning as an architectural residential showcase, the team also works from this home, and their clients meet with them there; the project challenges preconceptions of home, land, family and work. From a voluminous material library in the basement to a concrete mezzanine bench designed for quiet focus, the layout supports varied modes of design work while challenging conventional boundaries between domestic and professional space. Crafted in collaboration with local makers, the building also pioneers sustainability through reclaimed timber linings, carbon-neutral bricks, and a solar system supplying up to 80% of daily energy demand. say architects Community Office By say architects, Hangzhou, China Say Architects’ office reimagines workplace architecture as a life-oriented, materially expressive environment, where exposed I-beams structure both the building and the studio’s daily rhythms. Cantilevered volumes, rope-grown greenery, and integrated misting systems animate the exterior, while steel-framed shelving and model rooms of rich timber textures create a tactile, inspiration-driven interior. Prioritizing adaptability and sensory comfort, the space dissolves traditional partitions in favor of spatial arrangements that align with design habits, offering a studio that is both tool and manifesto. Bohlin Cywinski Jackson, Philadelphia Studio By Bohlin Cywinski Jackson, Philadelphia, Pennsylvania Bohlin Cywinski Jackson’s Philadelphia studio transforms a historic social club (founded in 1923) into a contemporary workspace through adaptive reuse, prioritizing flexibility, daylight and material economy. The goal was to create a highly flexible work environment that would allow designers to move quickly between individual work, impromptu discussions and group meetings throughout the day. Restored terrazzo floors and ornamental detailing anchor a modern layout featuring hoteling desks, collaborative mezzanine zones and panoramic views of the city center.  The design supports agile workflows and hybrid collaboration while integrating repurposed custom furnishings to extend the life cycle of past projects. ADND OFFICE By Atelier Design N Domain, Mumbai, India ADND’s new Bombay headquarters is a richly layered adaptive reuse of a century-old industrial warehouse, reimagined as an expressive design laboratory charged with material experimentation and symbolic nuance. The studio’s soaring central bay reaches 26 feet (8 meters) in height, punctuated by 7-foot (2-meter) pivoting porthole windows that flood the workspace with southern light, evoking a cathedral-like ambiance. Throughout, bespoke interventions — from terrazzo-cast floors and mirrored reception desks to hand-sketched upholstery and looped oak chairs — translate the founders’ personal design dialects into architectural form, creating a space where industrial memory and contemporary authorship converge. Studio Cays X Studio BO By Studio CAYS, Casablanca, Morocco In this Casablanca-based studio, minimalist rigor meets material clarity through tiled walls and seamless epoxy flooring, crafting a luminous, low-maintenance workspace. At its core, a central bench anchors the open-plan layout, fostering daily collaboration and reinforcing the studio’s emphasis on shared ideation within a purified architectural envelope. Smart Design Studio By smart design studio, Alexandria, Australia Jury Winner, Office Interiors (<25,000 sq ft); Jury Winner, Office Building Low Rise, 10th Annual A+Awards Smart Design Studio’s headquarters fuses industrial heritage with cutting-edge sustainability, transforming a conserved warehouse into a carbon-neutral workspace powered by on-site energy and water collection systems. The studio’s open-plan interior is crowned by a mezzanine framed by original steel trusses, while a striking vaulted residence above features self-supporting brick catenary arches — an elegant synthesis of structural economy and sculptural ambition. Designed to reflect the material restraint and innovation of early industrial architecture, the building is a working manifesto for the studio’s interdisciplinary ethos. Architect’s Office at Kim Yam Road By Park + Associates, Singapore Popular Choice Winner, Office Interiors, 10th Annual A+Awards Photos by Edward Hendricks Occupying a former library hall atop a repurposed 1960s school, this studio embraces the latent grandeur of its barrel-vaulted, column-free volume to craft a boundary-less, anti-office environment. Full-height louvered windows invite daylight and breeze through the arching space, while the design resists conventional programming in favor of layered, informal settings that foster creativity and fluid collaboration. Rather than overwrite its past, the intervention amplifies the building’s inherent spatial expression; through adaptive reuse, the architects position atmosphere as architecture. Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters.   The post Self-Portrait in Plan: 8 Architecture Studios Designed By Their Owners appeared first on Journal.

In our June issue Our June issue looks at the housing spectrum, with a particular focus on non-market and affordable housing. Odile Hénault starts our journey in Montreal, where two shelters—Le Christin by Atelier Big City and Les Studios du PAS by L. McComber in collaboration with Inform—offer dignity to people experiencing homelessness. We next travel to Beaverton Heights, a transitional housing project in the Region of Durham, Ontario. Designed by Montgomery Sisam Architects, the complex addresses the often-invisible homelessness of a rural area, and expands the aesthetic possibilities of modular construction. In Toronto, we visit Gerrard Healthy Housing by Atkinson Architect, which aims to add gentle density to an established neighbourhood. We also tour Anduhuaun, LGA Architectural Partners’ shelter for Indigenous women, which offers a place of nurture and grounding for its clients. LGA Architectural Partners is the coordinating firm behind the new Canadian Housing Catalogue, a repository of designs for multi-family homes. John Lorinc examines the catalogue’s potential for widespread uptake. Our long-read this month is a report by Yellowknife-based Kristel Derkowski on the driving factors behind the Northern housing crisis—and ways to start addressing it. In this month’s AIA Canada Society Journal, a quartet of Canadian educators explore how architecture schools are contributing to addressing the housing affordability crisis through research, studios, and hands-on initiatives. On the other end of the housing spectrum, Adele Weder visits Revery Architecture’s The Butterfly and First Baptist Church. She looks at how the striking landmark delivers tangible benefits for both residents and the wider public. Our issue is rounded out by an obituary for Dick Mah Sai-Chew (1928-2025), and reviews of books on the history of the barrack, James Strutt’s round houses, and sustainable housing in a circular economy. -Elsa Lam, editor The post June 2025 appeared first on Canadian Architect.

View of the south façade before construction of a new residential project that now conceals Le Christin from Boulevard René Lévesque. PROJECT Le Christin, Montreal, Quebec ARCHITECT Atelier Big City PHOTOS James Brittain   PROJECT Les Studios du PAS, Montreal, Quebec ARCHITECT L. McComber in collaboration with Inform  PHOTOS Ulysse Lemerise   Nighttime, April 15, 2025. A thousand volunteers are gathering in Montreal, part of a province-wide effort to try and put numbers on a growing phenomenon in cities like Vancouver, Calgary, Toronto, and many others. The volunteers are getting ready to walk around targeted areas in downtown Montreal and around certain subway stations. Temporary shelters are also visited. First conducted in the spring of 2018, this survey showed that 3,149 people were in a vulnerable situation at the time. Four years later, a similar effort revealed that Montreal’s homeless population had risen to 4,690 people—and that there were some 10,000 people experiencing homelessness in the whole of the province. The 2025 numbers are expected to be significantly higher. For the organizers, this one-night snapshot of the situation is “neither perfect nor complete.” However, for nonprofit organizations and governmental bodies eager to prevent a vulnerable population from ending up on the streets, the informal census does provide highly valuable information.  Two recent initiatives—very different from one another—offer inspiring answers. The most recent one, Le Christin, was designed by Atelier Big City (led by architects Anne Cormier, Randy Cohen, and Howard Davies) and inaugurated in 2024. Studios du PAS, on the other hand, was designed by Montreal firm L. McComber, and welcomed its first tenants in 2022. Both projects involved long-standing charities: the 148-year-old Accueil Bonneau, in the case of Le Christin, and the 136-year-old Mission Old Brewery for Studios du PAS. Le Christin was spearheaded, and mostly financed, by the Société d’habitation et de développement de Montréal (SHDM), a non-profit, para-municipal corporation created in 1988. Studios du PAS was first selected by the City of Montreal to be built thanks to the Rapid Housing Initiative (RHI) program run by the Canada Mortgage and Housing Corporation (CMHC). Le Christin also received a financial contribution from the CMHC towards the end of the process. Boldly coloured blind walls signal the presence of Le Christin in the center of a densely occupied city block, with entrance to the left along Sanguinet Stree. Le Christin Although sited in a very central location, near the buzzing St. Catherine and St. Denis streets, Le Christin is hard to find. And even when one suddenly spots two seven-storey-high walls, coloured lemon-zest yellow and mango orange, it’s difficult to figure out what they are about. A stroll along the tiny Christin Street finally reveals the front façade of this new facility, now home to some of Montreal’s most vulnerable citizens.  View of Le Christin’s modulated front façade. Galvanized steel panels at ground level add a soft touch while protecting the building from potential damage caused by snow plows. Le Christin is unique for a number of reasons. First among them is its highly unusual location—at the centre of a dense city block otherwise occupied by university buildings, office towers, and condo blocks. Until a few years ago, the site was home to the four-storey Appartements Le Riga. The Art Deco-style building had been built in 1914 by developer-architect Joseph-Arthur Godin, who was a pioneer in his own right: he was one of the first in Montreal to experiment with reinforced concrete structures, a novelty in the city at the time. A century later, Le Riga, by then the property of SHDM, was in serious need of repair. Plans had already been drafted for a complete renovation of the building when a thorough investigation revealed major structural problems. Tenants had to leave on short notice and were temporarily relocated; the building was eventually demolished in 2019. By that time, Atelier Big City had been mandated to design a contemporary building that would replace Le Riga and provide a “place of one’s own” to close to 150 tenants, formerly homeless or at risk of becoming so.    Le Christin – Site Plan and Ground Floor Plan The entire operation sparked controversy, particularly as Le Christin started to rise, showing no sign of nostalgia. The architects’ daring approach was difficult to fathom—particularly for those who believe social housing should keep a low profile.  The program, originally meant for a clientele of single men, gradually evolved to include women. In order to reflect societal trends, the architects were asked to design 24 slightly larger units located in the building’s east wing, separated from the rest of the units by secured doors. Thus, Le Christin is able to accommodate homeless couples or close friends, as well as students and immigrants in need. A tenants-only courtyard is inserted in the south façade. In order to provide the maximum number of units requested by SHDM, each of the 90 studios was reduced to 230 square feet—an adjustment from Atelier Big City’s initial, slightly more generous plans. In a clever move, an L-shaped kitchen hugs the corner of each unit, pushing out against the exterior wall. As a result, the window openings recede from the façade, creating a sense of intimacy for the tenants, who enjoy contact with the exterior through large windows protected by quiet Juliet balconies. Far from damaging the initial design, the added constraint of tightened units allowed the architects to modulate the building’s façades, creating an even stronger statement. On the unit levels, corridors include large openings along the south façade. Each floor is colour-coded to enliven the space; overhead, perforated metal plates conceal the mechanical systems. An extra floor was gained thanks to the decision to expose the various plumbing, electrical, and ventilation systems. Well-lit meeting rooms and common areas are found near Le Christin’s front entrance, along with offices for personnel, who are present on the premises 24 hours a day. Apart from a small terrace above the entrance, the main exterior space is a yard which literally cuts into the building’s back façade. This has a huge impact on the interiors at all levels: corridors are generously lit with sunlight, a concept market developers would be well advised to imitate. The adjacent exit stairs are also notable, with their careful detailing and the presence of glazed openings.  The fire stairs, which open onto the exterior yard at ground level, feature glazing that allows for ample natural light. Le Christin has achieved the lofty goal articulated by SHDM’s former director, architect Nancy Schoiry: “With this project, we wanted to innovate and demonstrate that it was possible to provide quality housing for those at risk of homelessness.” The low-slung Studios du PAS aligns with neighbourhood two-storey buildings. Studios du PAS In sharp contrast with Le Christin’s surroundings, the impression one gets approaching Studios du PAS, 14 kilometres east of downtown Montreal, is that of a small town. In this mostly low-scale neighbourhood, L. McComber architects adopted a respectful, subdued approach—blending in, rather than standing out.  The project uses a pared-down palette of terracotta tile, wood, and galvanized steel. The footbridge links the upper level to shared exterior spaces. The financing for this small building, planned for individuals aged 55 or older experiencing or at risk of homelessness, was tied to a highly demanding schedule. The project had to be designed, built, and occupied within 18 months: an “almost impossible” challenge, according to principal architect Laurent McComber. From the very start, prefabrication was favoured over more traditional construction methods. And even though substantial work had to be done on-site—including the installation of the roof, electrical and mechanical systems, as well as exterior and interior finishes—the partially prefabricated components did contribute to keeping costs under control and meeting the 18-month design-to-delivery deadline. Les Studios du PAS The building was divided into 20 identical modules, each fourteen feet wide—the maximum width allowable on the road. Half the modules were installed at ground level. One of these, positioned nearest the street entrance, serves as a community room directly connected to a small office for the use of a social worker, allowing staff to follow up regularly with tenants. Flooded with natural light, the double-height lobby provides a friendly and inclusive welcome. The ground level studios were designed so they could be adapted to accommodate accessibility needs. Some of the ground floor units were adapted to meet the needs of those with a physical disability; the other units were designed to be easily adaptable if needed. All studio apartments, slightly under 300 square feet, include a full bathroom, a minimal kitchen, and sizeable storage space hidden behind cabinet doors. Most of the apartments include a small exterior alcove, which provides an intimate outdoor space while creating a subtle rhythm along the front façade. Inside the studio units, storage cupboards for clothes and belongings were added as an extension of the kitchen wall. Conscious of the tradition of brick residential buildings in Montreal, yet wanting to explore alternate materials, the architects selected an earth-toned terracotta tile from Germany. The 299mm x 1500mm tiles are clipped to the façade, allowing for faster installation and easier maintenance. All units enjoy triple-glazed windows and particularly well insulated walls. A high-performance heat pump was installed to lower energy demand—and costs—for heating and cooling needs. Wood siding was used to soften the upper-level balconies, which provide protected outdoor spaces for residents.   Pride and Dignity Le Christin and Les Studios du PAS have little in common—except, of course, their program. Architecturally speaking, each represents an interesting solution to the problem at hand. While Le Christin is a high-spirited, flamboyant statement, Studios du PAS is to be praised for its respectful attitude, and for the architects’ relentless search for interesting alternatives to traditional construction norms. Atelier Big City is one of few firms in Canada that has the guts—and the talent—to play with bold colours. Decades of experimentation (not just with public buildings, but also within their own homes), led up to Le Christin, which is perhaps their strongest building to date. Their judicious choices of colour, brick type, and materials transmit a message of pride and dignity. Both projects demonstrate enormous respect and generosity to their residents: they provide architecture that treats them not as an underclass, but as regular people, who need the stability of dignified housing to start rebuilding their lives. Odile Hénault is a contributing editor to Canadian Architect.   Le Christin CLIENT Société d’habitation et de développement de Montréal (SHDM) | ARCHITECT TEAM Anne Cormier, Randy Cohen, Howard Davies, Fannie Yockell, Gabriel Tessier, Sébastien St-Laurent, Lisa Vo | STRUCTURAL DPHV | MECHANICAL/ELECTRICAL BPA | CIVIL Genexco | LIGHTING CS Design | AREA 4,115 m2 | Construction BUDGET $18.9 M | COMPLETION November 2023   Les Studios du PAS  CLIENT PAS de la rue | ARCHITECT TEAM L. McComber—Laurent McComber, Olivier Lord, Jérôme Lemieux, Josianne Ouellet-Daudelin, Laurent McComber. Inform—David Grenier, Élisabeth Provost, Amélie Tremblay, David Grenier | PROJECT MANAGEMENT Groupe CDH | STRUCTURAL Douglas Consultants | MECHANICAL/ELECTRICAL Martin Roy & associés | CIVIL Gravitaire | CONTRACTOR Gestion Étoc | AREA 1,035 m2 | BUDGET $3.4 M | COMPLETION September 2022 As appeared in the June 2025 issue of Canadian Architect magazine The post A Place to Call Home: Le Christin and Les Studios du PAS, Montreal, Quebec appeared first on Canadian Architect.

Gironda Residence | © Simone Bossi Located just steps from Piazza del Popolo in Ravenna, the Renaissance-era Casa Guaccimanni holds centuries of architectural and historical weight. Constructed in the fifteenth century for the Venetian podestà Nicolò Giustinian, the building evolved through noble ownership and later became home to Vittorio and Alessandro Guaccimanni, sons of Risorgimento figure Luigi Guaccimanni. Architecturally, the structure is characterized by a tripartite plan with a central corridor flanked by large rooms, an interior courtyard with a double loggia, and decorative elements spanning Renaissance to Neoclassical periods. Once concealed beneath plaster, its frescoed veranda and exposed wooden ceilings speak to a layered history of intervention, concealment, and rediscovery. Gironda Residence in Casa Guaccimanni Technical Information Architects1-13: Giovanni Mecozzi Architetti Location: Casa Guaccimanni, Via Armando Diaz, Ravenna, Italy Client: Emanuela Docimo Project Years: 2022 – 2024 Original Structure: 15th Century Photographs: © Andrea Sestito, © Simone Bossi, © Omar Sartor The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension. – Giovanni Mecozzi Gironda Residence in Casa Guaccimanni Photographs © Omar Sartor © Andrea Sestito © Andrea Sestito © Andrea Sestito © Omar Sartor © Simone Bossi © Simone Bossi © Simone Bossi © Omar Sartor © Omar Sartor © Omar Sartor © Andrea Sestito © Omar Sartor Design Intent: Reversibility and Temporal Tension The recent architectural project by Giovanni Mecozzi Architetti centers on the noble floor of the palazzo, reinterpreted as a contemporary residence named Gironda. Rather than imposing a new visual regime onto the historic shell, the intervention operates with restraint, foregrounding the building’s original character while establishing new spatial and material conditions. At the core of the project lies a design philosophy rooted in reversibility. Mecozzi’s intervention resists permanence. The furnishings and spatial devices introduced into the historic rooms are self-supporting and detached from the structure. No new element makes physical contact with the floors, ceilings, or walls, preserving the integrity of the original surfaces. This strategy avoids irreversible alterations and allows the architecture to remain temporally flexible. Architect Giovanni Mecozzi articulates this approach succinctly: “The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension.” This spatial tension is not decorative but conceptual, prompting occupants to consider the relationship between historical continuity and contemporary transformation. The design does not attempt to erase time but rather exposes its layers through careful juxtaposition. The project draws conceptual and chromatic inspiration from Ravenna’s early Christian and Byzantine mosaics. Rather than replicate ornamental motifs, Mecozzi extracts abstract qualities such as color, luminosity, and surface texture, integrating them as subtle spatial references throughout the residence. Gironda Residence Material Strategy Access to the residence is organized through a longitudinal hallway that bisects the plan, connecting a balcony on the north façade with a loggia overlooking the garden to the south. This corridor becomes a spine for circulation and orientation, punctuated by entries into five main rooms: the kitchen, veranda, and three independent suites. Each suite functions as a self-contained spatial environment. The original large rooms have been reimagined with integrated volumes housing diverse domestic functions: bathrooms, saunas, walk-in closets, reading nooks, and home cinemas. These new programmatic layers are embedded within freestanding furniture structures, which operate more as inhabitable objects than architectural partitions. Color becomes an operative tool for spatial differentiation. The three principal suites, the Gold Room, the Blue Room, and the Green Room, are introduced chromatically through thresholds that face the main corridor. This prelude of color sets the tone for each room’s unique interior experience. Within, glossy glass tiles, gilded surfaces, and a reduced palette of materials establish a scenographic yet restrained environment. The flooring, a Venetian terrazzo installed during earlier restoration work in the 2000s, has been retained. Its beveled borders and rounded corners respond to the proportions of each room, reinforcing a visual continuity that binds the new interventions with the inherited context. In contrast to the historical envelope, the furniture and spatial devices employ a language of monochromatic forms and minimal detailing, occasionally verging on neoplastic abstraction. This tension between old ornament and new abstraction is one of the project’s defining features. Furnishings curated by Atelier Biagetti, known for their theatrical and ironic sensibility, further enrich the atmosphere. These pieces do not mimic the historical setting but create moments of visual friction and playful ambiguity, enhancing the multi-temporal character of the interiors. Architectural Significance and Cultural Dialogue The Gironda residence exemplifies a growing discourse in contemporary architecture around adaptive reuse that neither mimics nor erases the past. Rather than treating heritage as a constraint or an aesthetic to be curated, Mecozzi engages it as an active agent in spatial transformation. The project is a case study in reversible architecture, where temporality is embedded in the design, not just its historical references. This intervention prompts broader questions about the role of preservation in contemporary practice. Can architectural interventions occupy historic contexts without becoming parasitic or nostalgic? Mecozzi’s project suggests that they can adopt a posture of critical distance and conceptual clarity. Gironda does not attempt to restore Casa Guaccimanni to a previous state or impose a singular vision of modernity. Instead, it crafts a dialogue between past and present, structured through spatial strategies, material choices, and chromatic cues. In doing so, it opens a new chapter in the building’s ongoing life, one that is fully contemporary yet deeply rooted in architectural memory. Gironda Residence in Casa Guaccimanni Plans Floor Plan | © Giovanni Mecozzi Architetti Golden Room Layout | © Giovanni Mecozzi Architetti Door Detail | © Giovanni Mecozzi Architetti Gironda Residence in Casa Guaccimanni Image Gallery About Giovanni Mecozzi Giovanni Mecozzi is an Italian architect based in Ravenna, Italy, and the founder of Giovanni Mecozzi Architetti (GMA), a multidisciplinary studio specializing in architecture, interior design, and landscape projects. After graduating from the University of Ferrara with an architecture degree, Mecozzi gained international experience working in Spain, including collaborating with Mendaro Arquitectos in Madrid. Upon returning to Italy, he co-founded GMA, focusing on projects emphasizing the relationship between architecture, the client, and the context, with a particular interest in renovating and transforming historical buildings.  Credits and Additional Notes Design Team: Giovanni Mecozzi, Cecilia Verdini, Filippo Minghetti Construction: Edilcostruzioni (Leoni Andrea) Electrical Systems: Elektra Service (Andrea Baiardi) Mechanical and Hydraulic Systems: Nuova OLP Structural Alterations: Not applicable (intervention is fully reversible) Custom Furniture: Idea Legno (Paolo Berdondini) Curtains and Fabrics: Selezione Arredamenti, Ravenna Lighting: Viabizzuno (via Tutto Luce, Cesena) Resin Coatings and Flooring: Kerakoll Rugs and Carpeting: Centro Moquette, Rimini Bathroom Furnishings: Salaroli, Ravenna Furniture, Artwork, and Design Objects Selected by: Atelier Biagetti (Milan) Furniture Designers: Alberto Biagetti and Laura Baldassarri

The Independents marks Colony’s 10th anniversary as a platform where founder Jean Lin’s personal vision and marketplace viability find rare equilibrium. The exhibition brings together 24 design studios from Colony’s orbit, each responding to what independence in design practice means to them. The resulting collection serves as both retrospective and manifesto – a declaration that independence in design isn’t merely aesthetic preference but philosophical stance. A paper cord chair with a single walnut along a corner hinge sits in the corner of Lin’s Tribeca gallery space. To the casual observer, it might register simply as a thoughtful detail of material juxtaposition. But Chen Chen & Kai Williams’ Walnut Corner Chair carries cultural memory within its form. The designers drew inspiration from the Chinese tradition of passing walnuts from one generation to the next, objects worn smooth by the hands of ancestors. This object-as-inheritance becomes a fitting metaphor for what Colony has cultivated over its decade of existence. “I’m very proud of the community of independent designers that we have built at Colony over the past decade,” says Colony founder Lin. “The Independents exhibition encapsulates my very own ‘why.’ My belief in the independent spirit is limitless, and so is my awe.” The exhibition reveals how Colony’s cooperative model has evolved beyond representation to becoming an incubator. Studios emerging from the gallery’s Designers’ Residency program – including Ember Studio, Thomas Yang Studio, and the freshly minted Studio BC Joshua from the 2025 class – demonstrate how Colony functions as both launch pad and ongoing support system. Materiality serves as a throughline connecting past and present. Current Colony designers like Hiroko Takeda, Moving Mountains, and SSS Atelier present new work that extends their material investigations. Takeda’s textiles in particular showcase how technical mastery creates spaces for expression – the constraints of the loom enabling greater creative freedom. For more information on The Independents, visit Colony at goodcolony.com. Photography by Brooke Holm.

When it comes to bedding that’s soft and supple, the best silk sheets are hard to beat. Unlike other materials like a textured linen or crisp percale, these have a glossy look and feel that you won’t quite find in another set. What’s more, they are just as versatile as they are stylish. Silk of the highest quality is characterized as a hypoallergenic, naturally breathable fabric, which is great for hot sleepers and sleepers with sensitive skin. Plus, many sets come in neutral and bright colorways to play off of your bedroom’s design.To get a real feel for the best sets out there, our editors got to work by sleeping in on our favorite sets on the market. And since top-tier silk sheets tend to be pricey, we’ve also sprinkled in some affordable alternative options like satin and bamboo. They might trick you into thinking they’re the real thing. Here, find all of our favorites to enhance your sleep experience and self-care routine.Our Top Picks for the Best Silk Sheets:Best Overall Silk Sheets: Quince Mulberry Silk Sheet Set, $500Best Splurge: Clementine Sleepwear Atelier Medica Organic Silk Fitted Base Sheet, $899A Sustainable Set: Lunya Quintessential Bedding Set, $428Best Silk Alternative: Ettitude CleanBamboo Sheet Set, $379 $265Most Affordable: Bedsure Satin Sheets, $41For Hot Sleepers: Luxome Luxury Sheet Set, $185Browse by CategoryFor consistency, all prices reflect queen sizes in this story.The Best Silk Sheets, OverallQuince Mulberry Silk Sheet SetUpsides & DownsidesUpsides: Affordable, machine washable, made of 100% mulberry silkDownsides: Only available in a few neutral colorsSpecsMaterial: 100% mulberry silkSizes: Queen, kingColors: 3Includes: Fitted sheet, flat sheet, and 2 pillowcasesCare instructions: Machine washable, air-dry recommendedQuince is already one of our favorite destinations for luxury-on-a-budget sleep essentials. While you’ll find an affordable price point here too, the quality of these 100% mulberry silk sheets isn’t something to skip over. Senior commerce editor Nashia Baker keeps these high-quality sheets in rotation since they’re both durable and easy to care for. They are machine washable—she just keeps them with like colors for safe measure, though. From there, an air-dry gets the sheets back to their best condition. Even if you don't notice an immediate change from tumble drying, the brand says this practice can weaken the silk. As someone whose skin has gotten more sensitive over time, she appreciates the hypoallergenic, temperature-regulating material that feels soothing to sink into each night.These sheets have a 22 momme count. We dive into this more in our FAQ section, but this count essentially indicates a durable weave, and Baker says they've held up well without tears or color fading in sight.Best SplurgeClementine Atelier Medica Silk Fitted SheetUpsides & DownsidesUpsides: No off-gassing, tester says the deep hue pairs well with neutral bedding, infused with ingredients like hyaluronic acidDownsides: PriceySpecsMaterial: 100% GOTS certified organic silk beddingSizes: Twin, full, queen, kingColors: 2Includes: Fitted sheetCare instructions: Machine wash on the most delicate setting in a “silk-only” load with mild detergent. Or, hand wash with a mild detergent and gently massage the fabric for one minute to remove dirt and let it soak for the next four minutes. Rinse in fresh cold water. Do not use bleach or a fabric softener. Hang in a shady spot away from the sun to air-dry.Calling them “extremely soft and rich-feeling,” commerce writer Julia Harrison coats her bed with this silk set and adds that they’re the “kind of splurge that just feels like self-care every time you slip into it.” While they’re steeper in price, the brand notes that these sheets boast infused with ingredients like hyaluronic acid designed to leave skin feeling dewy and soothed. Harrison says she sleeps easily with these sheets and felt like they were ready for use out of the box with little to no off-gassing (though she did still give them a wash).All that aside, these sheets can instantly dress up a moody or minimalist bedroom at any given moment with the pearl white and navy blue hues. Although Harrison has a bohemian-meets-Danish design style in her space, she found the navy blue color to be surprisingly subtle. “It wasn’t screaming: silk sheets, or even worse: navy blue sheets,” she says. “I tucked it under my white duvet and it gave a really interesting contrast.”A Sustainable SetPhoto: Nashia BakerPhoto: Nashia BakerLunya Quintessential Bedding SetUpsides & DownsidesUpsides: Made of natural wood tencel fibers, soft, durable materialDownsides: Duvet and sheet set are sold separatelySpecsMaterial: 100% tencelSizes: Queen, king, California kingColors: WhiteIncludes: Fitted sheet, flat sheet, and 2 pillowcasesCare instructions: Machine wash cold and tumble dry low.Take it from Baker: Lunya’s silky sheets are a dream. At first glance, she mistook these as mulberry silk because of their glossy look. In actuality, these sheets are made of a natural fiber called tencel, which is a wood-based material. The brand notes that the bedding is biodegradable and created using an earth-friendly, closed-loop process that uses recycled materials. These are naturally breathable while also boasting a softness that she hasn’t quite felt in a standard silk set. “I wouldn’t consider myself a hot sleeper, but since NYC weather is constantly up and down, I like something that’s both airy and soft,” she says. “I sleep under the top sheet and duvet with no problem; the set keeps me comfortable during in-between spring weather that hits around the 50s and 60s.”While the duvet is sold separately, it's a plus to pair with the sheet set since it's just as durable. “I’ve had the same textured comforter with yellow embroidery for years now, and I feared that the design would show through the duvet cover since the only color Lunya has as of now is white,” Baker says. “I was pleasantly surprised to see that the duvet covered it all without any color peeking through.”Best Silk AlternativeEttitude CleanBamboo Sheet SetUpsides & DownsidesUpsides: 8 colors available, Oeko-Tex Standard 100 certified, hypoallergenicDownsides: Some colors sell out quicklySpecsMaterial: 100% CleanBamboo LyocellSizes: Twin, twin XL, full, queen, king, California kingColors: 8Includes: 1 fitted sheet, 1 flat sheet, 2 pillowcase(s). Full and queen sizes include 2 standard pillowcases; King and California king include 2 king-size pillowcases, twin and twin XL include 1 standard pillowcase.Care instructions: Wash on cold with mild detergent and like fabrics in a gentle or delicate setting. Line dry or tumble dry low. Don't use bleach or fabric softener."These sheets are buttery—pun intended,” says Baker, who has this set in the butter colorway. These are made from a patented CleanBamboo fabric that leaves the sheets with a silky sateen finish. She says they have gotten noticeably softer over time with a routine wash and dry. Plus, they are a bit thinner in a good way than other bamboo-like sets, as Baker says it leaves them with an airier feel. If trendy pastel yellow isn’t your preference, these sheets also come in several neutral and vibrant hues like sage and saffron.Most AffordableBedsure Satin SheetsUpsides & DownsidesUpsides: Affordable alternative, smooth feel, easy care (machine washable and tumble dry)Downsides: Some color might bleed on pillows after the first couple of usesSpecsMaterial: 100% polyester satinSizes: Twin, full, queen, king, California kingColors: 22Includes: Fitted sheet, flat sheet, and 2 pillowcasesCare instructions: Machine washable in cold water. Tumble dry on low.Another alternative to add to cart, these satin sheets have a smooth texture and come in nearly two dozen colors to match your bedroom. And coming in at just $41, they have more of an approachable price tag while still boasting the overall look of silk. The sheets are more slippery than a standard silk set, but the appearance itself doesn't give that away. Baker has these in burgundy and says the rich hue really shows through in person. She did notice some color bleeding on her pillows after the first couple of uses, so something to be mindful of if you opt for a deep color.For Hot SleepersPhoto: Nashia BakerLuxome Luxury Sheet SetUpsides & DownsidesUpsides: Unique colors available, deep pockets, breathableDownsides: The brand recommends washing alone on the delicate cycleSpecsMaterial: 100% Viscose from BambooSizes: Twin, twin XL, full, queen, king, California king, and split kingColors: 12Includes: 1 fitted sheet, 1 flat sheet, 2 pillowcase(s). Full, queen, king, California king, and split king sizes include 2 pillowcases; twin and twin XL include 1 standard pillowcase.Care instructions: Machine wash in cold water on a delicate cycle with a mild, liquid detergent. Don't use bleach, fabric softener, stain removers, or scent boosters. Tumble dry with low heat.These are our favorite cooling sheets for those seeking a glam aesthetic. Baker says this bamboo set is great for people like her who crave something cool-to-the-touch without sacrificing style. “These sheets have the same appearance to me as a high-end set of silk or satin without the cost,” she says, adding that they have dramatic drape. “These are even more unique because of the jewel tones, like sapphire, that are hard to find with other brands,” she says. Baker keeps her bedscape full with a mattress topper and protector, and she says these deep-pocket sheets fit easily over it all. While she says she’s generally a cold sleeper, the bamboo material is perfectly breathable for hot NYC days.How We TestedFrom bamboo to linen sheets, our testing process for sheets is one in the same at AD: Just like fellow shoppers, our editors bring sets in their homes to see if they really hold up for routine use. We had these silk and silk alternative sheets in our homes for about a month, if not more, to go through the process of washing and sleeping on them. Here areMaterial: There are several silk and silk alternative fabrics to choose from, but our list consists of pure mulberry silk, bamboo varieties, and satin that all have a similar look and feel. When shopping for pure silk, be sure look for bedding labels that note 100% mulberry silk, also known as natural silk. If you're looking for options that mirror the look of silk, 100% viscose from bamboo is typically durable and has less strict care instructions, especially tumble drying. Satin tends to be slightly more slippery in texture, but these usually still offer a silky look.Care: For streamlined care, we tested a variety of options that span hand washing to machine washing, as well as tumble drying and air-drying. Since pure silk can sometimes weaken from abrasive wash and dry cycles, it's typically recommended to hand wash and air-dry.FAQsAre Silk Sheets Really Worth It?While 100% mulberry sheets tend to be an investment price-wise, we think it's worthwhile. These can act as cooling sheets, as the material is naturally breathable for a good night's rest. And because of their smooth nature, they can leave a polished aesthetic in any bedroom. With the right care—typically machine washing on a delicate cycle or hand washing and air drying—the best silk sheets can last for years.What’s a Momme Count?A momme count is the measurement that reflects the weight of silk. Typically, the higher the momme count, the denser the fabric. Any momme count above 20 momme, like our Quince pick, is pretty standard and ensures the material is sturdy and designed to last.

Got a project that’s too contemporary for your client? Submit your conceptual works, images and ideas for global recognition and print publication in the 2025 Vision Awards! The clock is ticking — submit your work ahead of the Main Entry deadline on June 6th. After almost fifty years of being open to the public, the Centre Pompidou will temporarily close for a major renovation. The works will address structural aging and bring the facility up to current safety, accessibility and environmental standards, ensuring the Centre Pompidou can continue to operate as a world-class institution. The closure is expected to last approximately five years, with reopening planned for 2030. As would-be visitors postpone their architectural pilgrimages, it’s an opportune moment to revisit some of its most distinctive architectural features. Since its inauguration in 1977,  it is one of Paris’ most recognizable landmarks, an icon of High-Tech architecture and a beacon of cultural innovation. Designed by architects Renzo Piano and Richard Rogers, the building turned traditional museum design upside down (or, rather, inside-out!), with its boldly exposed infrastructure and brightly color-coded mechanical systems. French architecture firm Moreau Kusunoki, in collaboration with Frida Escobedo Studio, was selected to lead the ambitious project for their thoughtful approach to contemporary interventions in historic settings and their commitment to sustainability. The upgrade involves no expansion of the original structure; instead, it focuses on improving the building’s long-term resilience and functionality while staying true to the original design’s spirit. View of Centre Pompidou from Montmartre, Paris, France. | Photo by Zairon via Wikimedia Commons under CC BY-SA 4.0. 1. The Centre Pompidou is undoubtedly a bold architectural landmark and a prime example of High-Tech Architecture, also known as Structural Expressionism. This style emerged in the late 1960s, primarily in the United Kingdom, and later spread internationally. Highly influenced by Modernism and Brutalism, High-Tech Architecture proudly displays building components, such as structural and mechanical systems, which are typically concealed. The style also celebrates industrial materials, engineering innovation, and prefabrication. Renzo Piano and Richard Rogers were part of a wave of architects, including Norman Foster, Santiago Calatrava, Nicholas Grimshaw, and Michael Hopkins, among others, who contributed significantly to the style’s development. As one of the style’s earliest and most provocative designs, the Centre Pompidou remains an all-time architectural icon.  2. The Centre Pompidou opened its doors in 1977, stirring controversy because of its industrial, rough aesthetic. Its boldly displayed structural and mechanical systems made the building look more like an industrial construction — such as factories or power plants — than a conventional civic building. Many critics saw it as out of place in historic Paris, especially compared to institutions like the Louvre, which embody traditional architectural principles. Yet, its provocative aesthetics, once criticized, are now recognized as a strength, pushing the boundaries of what an art institution can look like. Today, the Centre Pompidou is a powerful symbol of contemporary architecture that reflects the spirit of artistic avant-garde. Views of Paris from Centre Pompidou’s panoramic escalator. Photos by Huân Lê via Unsplash (right) and Florian Peeters via Unsplash (left). 3. Located in the Beaubourg area of Paris’ Marais district, the Centre Pompidou — also referred to as Beaubourg — has played a key role in revitalizing the neighborhood and activating public life with its plaza. It represents far more than a traditional museum, promoting street performances and cultural events. This strategy has transformed the area into a dynamic neighborhood, attracting both locals and visitors. 4. The Centre Pompidou was envisioned as a multidisciplinary cultural institution. In addition to its world-class modern and contemporary art collection, it also houses the Bibliothèque publique d’information (Bpi), the Institute for Research and Coordination in Acoustics/Music (IRCAM), movie theaters, and performance spaces. The integration of multiple disciplines under one roof promotes a vibrant cultural ecosystem that engages a broad and diverse public. 5. One of the Centre Pompidou’s most striking features is the external glass-enclosed escalator that rises the south façade overlooking the plaza. Nicknamed “la chenille” — French for “the caterpillar” — the escalator is more than just functional; it is a defining part of the visitor experience, offering panoramic views of Paris. This façade, with its distinctive escalator, has become so emblematic that a stylized drawing of it serves as the Centre Pompidou’s logo and branding. Centre Pompidou’s color-coded infrastructure. | Photo by Adora Goodenough via Unsplash. 6. Another outstanding feature of the building’s design is its color-coded infrastructure systems, which not only serves a functional purpose but also creates a vibrant visual language. Each  system is painted a different color to indicate its function: Blue for air ducts Green for plumbing Yellow for electrical systems Red for circulation (staircases, escalators, and elevators) The upcoming upgrade project will maintain this defining design aspect — so closely tied to the building’s identity and the spirit of the institution it houses — while improving the building’s overall functionality and sustainability with more energy-efficient technologies.   Centre Pompidou 2030 design by Moreau Kusunoki in association with Frida Escobedo Studio. Paris, France | Visualization by Moreau Kusunoki 7. Like the building’s infrastructure systems, the structure is also external, forming a steel exoskeleton composed of prefabricated steel trusses and diagonal bracing. This design approach reflects Renzo Piano and Richard Rogers’ intent to create a visually striking architecture that emphasizes clarity and legibility. The renovation will preserve and restore this architectural expression while making significant upgrades to meet today’s standards, including the refurbishment of the steel frame and façades without compromising the original design intent. 8. By placing the building’s structural and mechanical systems on the exterior, the Centre Pompidou offers expansive open spaces that can be easily reconfigured. This design approach optimizes the flexible use of spaces, ideal for exhibitions and performances. The new design will not expand the original structure but will make better use of previously underutilized areas. According to the architect’s project statement, the renovation seeks to “rationalize and simplify the spatial organization in order to establish clear, readable layout principles.” Centre Pompidou 2030 design by Moreau Kusunoki in association with Frida Escobedo Studio. Paris, France | Visualization by Moreau Kusunoki 9. In their project statement, Moreau Kusunoki also explain the shift in societal values since the Centre Pompidou opened in 1977: “When the Centre Pompidou was conceived, notions of speed, animation and information dissemination symbolized progress. Today, the paradigm is reversed: faced with information overload, fragmented attention and isolation caused by screen time, the Centre Pompidou offers a space where mediation, human interaction and the physical experience are central.” 10. The Atelier Brancusi is integral to the Pompidou’s identity. Situated just beside the main building on Place Georges-Pompidou, it will also close temporarily during the renovation. The renovation measures are aimed to ensure its careful preservation and eventual reopening in 2030. Got a project that’s too contemporary for your client? Submit your conceptual works, images and ideas for global recognition and print publication in the 2025 Vision Awards! The clock is ticking — submit your work ahead of the Main Entry deadline on June 6th. Top image: Centre Pompidou 2030 by MOREAU KUSUNOKI,Paris,France The post 10 Facts About Centre Pompidou, a High-Tech Architectural Iconic in Paris appeared first on Journal.

Click to enlarge Housing build-ups in Dhaka. Image: Jeremy Smith 1 of 11 Marina Tabassum Architects’ Bait Ur Rouf Jame Mosque. Image: Jeremy Smith 2 of 11 Marina Tabassum Architects’ Bait Ur Rouf Jame Mosque. Image: Jeremy Smith 3 of 11 Marina Tabassum Architects’ Bait Ur Rouf Jame Mosque. Image: Jeremy Smith 4 of 11 Marina Tabassum Architects’ Bait Ur Rouf Jame Mosque. Image: Jeremy Smith 5 of 11 Old Dhaka and 45,000 people per square kilometre. Image: Jeremy Smith 6 of 11 Buses collage life on the roads. Image: Jeremy Smith 7 of 11 Lattice-work roofing of the informal settlements, viewed from Salauddin Ahmed’s Atelier Robin Architects studio. Image: Jeremy Smith 8 of 11 The colour and vibrancy of Dhaka life. Image: Jeremy Smith 9 of 11 The colour and vibrancy of Dhaka life. Image: Jeremy Smith 10 of 11 The colour and vibrancy of Dhaka life. Image: Jeremy Smith 11 of 11 Architects Jeremy Smith and Murali Bhaskar go looking for water and hard-to-find buildings in what is already one of the world’s most populous mega-cities, Dhaka. Architecture here is rarely properly lost. Even now, as we navigate a way to higher-density living, we tend not to misplace buildings. There’s still the space to eye-spy our most wayward elevations. At worst, we might GPS a tricky driveway or pull out an Andrew Barrie map to pinpoint some retiring architecture. But what happens if you really diamond-up the density. At our country-wide 19-people-per-square-kilometre or even downtown Auckland’s sky-high 2500, you can see what’s coming and cities mostly plan out as planned. Teleport forward though to 45,000-people-per-square-kilometre and cities accelerate lives of their own. Here, anything and everything can be lost in the crowd, even buildings. So, on a 2024 invitation from the Bengal Institute for Architecture, Landscape and Settlements to share some Unfinished & Far Far Away adventures in “the toughest city in the world”,1 I pack some extra compassing in architect buddy Murali Bhaskar and go architectural orienteering in Dhaka. It’s hot hot; architecture can wait. We start by looking for water. This, after all, is the land of rivers. Following on from Aotearoa in 2017 being the first to give a specific river, Te Awa Tupua, legal rights, Bangladesh in 2019 became the first country to grant all of its some 700 rivers the same legal status that humans have.2 But the count varies. Protections readily miss smaller tributaries and, with all that water pouring out of the Himalayas and delta-ing into the Bay of Bengal, the land is accretional. The colour and vibrancy of Dhaka life. Image:  Jeremy Smith From the million or so starters in a newly independent 1971 Dhaka, today, it is the fourth-most-populated city in the world with somewhere near 25 million people. Whether for disaster relief, economics or just the bright lights, urbanisation draws more than 400,000 new residents annually to the city. Throw in some family time and, with Tokyo and Shanghai shrinking, Dhaka’s population is predicted to be an eyewatering 35 million by 2050 (and outnumbered only by Delhi and, in some books, Mumbai). When every possible place looks inhabited, it’s not just water that can quickly go to ground. Kazi Khaleed Ashraf, who heads the Bengal Institute, has some learned thinkers in tow in trying to keep pace architecturally. Throw in societal and climatic concerns, and questions about how contextualisation might operate at such speed and the inquiry takes global precedence. Kenneth Frampton, Rounaq Jahan, Suha Özkan, Shamsul Wares and, formerly, BV Doshi, sit on the advisory panel and have drawn other such worldly thinkers as Juhani Pallasmaa, David Leatherbarrow and, even, Peter Stutchbury from down our way to come experience an urban existence “symptomatic of the gravest environmental challenges”.3 It’s serious stuff. Ashraf researches “hydraulic flow in which horizontal and vertical movements of water may direct architectural and landscape formations”.4 This ‘form follows water’ mantra isn’t just free planning Le Corbusier’s ‘form follows function’ with some Charles Correa’s ‘form follows climate’ to connect to life outside, it’s a watery warning to the navigations quickly necessitating within our collective future. Ashraf’s timely prompt that “Embankment is a barrier. How can we deconstruct it”5 can be seen in the way we increasingly plan the separation of wet and dry in our cities. Main streets like Queen Street and Cambridge Terrace already run down streams and our remaining water edges risk becoming increasingly marginalised by infrastructure rising with the water. But the steering is different at density and Dhaka’s rapid growth has meant letting go of the controls with which we still understand cities to flow. As Ashraf puts it, “Dhaka builds furiously”. While we dutifully plan buildings as if crawling a length or two at the aquatic centre, architecture in Dhaka must high-dive into a torrent. Its buildings must learn to surface and really start kicking. Anything trying to hold ground risks being swept away. Dhaka has become a river. As if to university-entrance the swimming lesson to densification, we’ve arrived only a few months after an Indian helicopter plucked Bangladesh’s president from a student-led flood of unrest amongst civil rights and corruption demonstrations. We might think of universities as offering time for trying things on but, sink or swim, the students here now run the country. With the parliament dissolved, there’s no chance of us seeing inside Louis Kahn’s 1982 National Assembly Building, which, like many of Dhaka’s institutional buildings, took on something of a freshening in the coup. Remembering our government’s pre-departure, bold-italic travel advisory, we head out to practise avoiding street demonstrations and are rewarded with a fenced-off view of Kahn’s epic, which brought global architectural discourse to post-independent Bangladesh. No such authoritative access issues back at the university, where, amongst the student political murals, we visit Muzharul Islam’s 1953–1956 Fine Arts Institute. Islam introduced modernism to the then East Pakistan6 and, in testament, the school still functions as a school, with its external verandah circulation and louvred ventilating classrooms. The rallying extends to getting around with cars sporting dodgem bumpers. Travelling 10 kilometres takes an hour, a million beeps and some financial socialising out the windows. Public transport may be working hard to keep pace with the kinetic city but it starts at the back of the grid, as the panelwork to the buses visibly collage. Getting to where we want to go takes some effort. An above-ground subway system has been started but not finished and the folk enticingly riding on top of trains typically aren’t off looking for architecture. There’s the three-wheeled rickshaw option, of course: formerly pedalled but, in recent months, souped-up with the allowance of car batteries to the back axle. Even so, manoeuvring further than nearby takes more than any rider is up for. So, as we head out for lunch with architect Marina Tabassum and then beep beep beep out further to her extraordinary Bait Ur Rouf Jame Mosque in Dhaka’s northern expansion, we learn that having everything close helps. Neighbourhoods remain important in megacities. Marina Tabassum Architects’ Bait Ur Rouf Jame Mosque. Image:  Jeremy Smith The mosque deserves the full medley and gently uplifts as all great architecture does, be it for the community or off-the-street visitors like us. Marina Tabassum Architects is, of course, internationally renowned for its architectural stand against globalised buildings that are out of place and context, notably winning an Aga Khan Award for Architecture in 2016 and being selected to undertake the 2025 Serpentine Pavilion in London. With the site at 13 degrees to the axis of qibla in Mecca, Tabassum sits the mosque on a five-step plinth with a squared, ventilating brick jali and a circular ceilinged prayer space rotated off centre. In a lesson to building only what you need, the spaces between remain unroofed and the perimeter daylight illumination provides a diminished and equalling light to the prayer space. It needs no explanation: look up and there are constellations in the sky; look outwards and find community; look to the mihrab notching the outside wall and orientate to Mecca. Tabassum’s dive is splashless, for the mosque has self-navigated being enveloped by the city. The entry pond may have gone and the mihrab now reveals buildings rather than fields but the light still shines the way. Four hundred people take prayer several times a day within the inner circle, and the weekend Friday crowd spreads outwards to the borders and plinth. We are two days in at this point and our not-getting-lost-practice is going well. We meet architect Salauddin Ahmed whose Atelier Robin Architects studio and gallery in a former tannery building is so hidden away that it feels both lost and right at home. It’s surrounded by the latticing roofs of informal settlements and, remarkably, feels quiet and yet, genuinely, part of the city. No mean feat in a city, “living”, as Ahmed puts it, “as if this is the last day on earth”. Noise is life in Dhaka; Ahmed’s windows are open and the river is flowing. We talk the same language of architecture understanding existing context and needing to accommodate change in shorter and shorter time frames. Where I say “participate”, Ahmed terms “navigate” and without any sense of overseeing for there is just so much life in Dhaka. We mean the same thing and get there from very different landscapes. The next morning, we go where transport can’t. Old Dhaka’s alleyways require some extra eyes, so Ahmed calls in his friend, photographer Khademul Insan, who has lived this labyrinth. This is the densest part of Dhaka and there’s a lot in the air. “Wear this,” says Ahmed, passing a mask. “Otherwise, you’ll cough for four weeks.” It is deep. There’s so much WiFi that it strands like some kind of underworld sun-shading. Our service provider isn’t expecting this kind of roaming and we have no connection. If our collective Kiwi wayfinding skills might have fluked a way in, we certainly need leading out. As the lanes narrow, the industry broadens into some kind of Mad Max circular economy where everything of anything has value and the fires that keep these people afloat run continuously. Mercifully, it’s not raining or there’d be a different type of river afoot. Fifteen kilometres and all day later, we’ve walked to search for culturally significant mosques, houses, courtyards and schools. Some we locate; others, there’s just no finding. Maybe they are there, maybe they aren’t. Occasionally, there are scripts cautioning against graffiti or carving a name into the stonework at the risk of imprisonment, but there are few clues to any architectural history. In the pinch, buildings jostle to just about every possible place a building might go: on top, under, in front, behind. They infill courtyards, hang over laneways, squeeze into gaps, even penalising what’s left of a football field. Every seat is taken, literally. Whenever we find public space off the street, there are couples dating. There’s a lot of romance in 25 million. Eventually, we exit and finally see a river. I remember the swimming lessons are strictly metaphoric and look but don’t touch. You don’t need to get wet to learn how to swim. As Ahmed guides, and he speaks with Ashraf, Tabassum, Insan and experience to what we must remember in densifying our own cities. “I belong to one of the last generations that truly understand what it means to have neighbours.”7 Context counts no matter the size. Our rivers are not yet streams. REFERENCES 1 Kazi Khaleed Ashraf, ‘Note from the Director General: Land, Water and Settlements’. bengal.institute/about Accessed 29.12.2024. 2 Ashley Westerman, 2019, “Should rivers have same legal rights as humans? A growing number of voices say yes”, National Public Radio. npr.org/2019/08/03/740604142 3 August 2019. 3 Kazi Khaleed Ashraf, ‘Note from the Director General: Land, Water and Settlements’. bengal.institute/about Accessed 29.12.2024. 4 Kazi Khaleed Ashraf, ‘Wet Narratives: Architecture Must Recognise that the Future is Fluid’ in The Mother Tongue of Architecture: Selected writings of Kazi Khaleed Ashraf. ORO Editions and Bengal Institute for Architecture, Landscape and Settlements, China: p. 251. 5 Ibid. 6 Adnan Morshed, 2017, ‘Modernism as Postnationalist Politics: Muzharul Islam’s Faculty ofFine Arts (1953–1956)’, Journal of the Society of Architectural Historians, 2017. 7 Salauddin Ahmed, 2024, “Design must not be a superimposed idea, but a logical one”, The Daily Star, Dhaka, 25 December 2024.

Minimalist this, minimalist that. The age of white-washed, super scant, and industrial spaces are behind us—designers are craving excitement, color, life, stories within interior design. One way that’s easy to manifest is through maximalist bedding with punchy colors, big stripes, and winding patterns.We’ve done a deep dive on which bedding sets do the most for a proper bedroom makeover—that includes textures too, with silks, linens, and percale all in the mix. A deep cobalt silk sheet set can add mystery and allure to your bedding bundle, while a gingham linen set can take a space from empty to abundant.And if you’re just beginning your foray into bolder styles, fear not—a pattern looks just as good peaking from behind a solid-colored duvet as it does out in the open, dueling with vertical stripes or contrasting colors.Our top picks for the best maximalist bedding:For a Statement Colorway : Quince Double Flange Duvet Cover Set, $190Best Budget Bedding: Lane Linen Organic Cotton Sheet Set, $45 $43For the Sophisticated Maximalist: Linoto Linen Sheet Set, $565Best Floral Pick: West Elm Jawahar Duvet Cover, $139For the Cottagecore Fanatic: Piglet in Bed Linen Blend Duvet Cover, $299Quince Double Flange Duvet Cover SetDeep burgundy makes for a statement neutral with this linen duvet cover set. Contributor Elise Portale notes that the European flax linen is “soft and comfy,” and the material only gets softer with numerous washes. A desert terra-cotta, a deep olive, warm sunset shade, and others can each make an impactful design statement in your space—maybe even pair with a patterned or striped detail to make the most of your bedding moment.Lane Linen Organic Cotton Sheet SetPolka dots are back. Ranking highly in our best Amazon sheets and softest sheets our editors swear by, these sheets boast quality and style—tester Kristi Kellogg says “after a couple years of use, they’re still in tip-top shape—they haven’t faded or pilled, and they’re still soft and comfy.” The small polka dot makes for a fun design detail without becoming twee, or dating itself. A tiny polka dot will always make for a charming detail.Linoto Linen Sheet SetHandmade in upstate New York with high-quality Italian and Belgian linen, these sheets are an indulgent piece of home decor and make for a super high-end maximalist bedding moment. With 30 shades to choose from, you can take your room coastal with an aquamarine, or make things Mediterranean with this espresso or a touch of French Provencal with the navy striped set. No matter your maximalist choice, you can rest assured these are some of the highest quality linen options on the market. They’re beloved by contributor Erika Owen for “the lived-in look they constantly have, thanks to the easy wrinkling.”West Elm Jawahar Duvet CoverFloral bedding is an easy way to optimize maximalism in your bedroom—the block print style of this duvet cover and shams create a welcoming boho sense of decor, making things feel both bright and relaxed in your space. They’re also made from 100% cotton, which bodes well for breathability and durability, so you can enjoy this unique bedding set for some time.Piglet in Bed Linen Blend Duvet CoverPiglet in Bed is our cottagecore go-to. Their wide selection of gingham styles achieve the English countryside kind of style that’s widely trending, while still maintaining quality. “The quality is unmatched, and I predict I’ll use these for as long as they’ll last (seemingly incredibly long),” says senior digital design editor Zoë Sessums. “You really get what you pay for, so I would say these are A+++ sheets.” These sheets are Oeko-Tex-certified (meaning they’re free of harmful chemicals), and their linen blend is made from a soft combo of 55% European linen and 45% long staple cotton.Lunya Quintessential Duvet CoverMaximalism comes in more forms than bright colors and big prints—textures play just as important a role in exaggerating your space. This silky (and newly released) duvet cover from Lunya looks and feels luxe, and the shiny exterior adds a bright, reflective touch to your bedding that can make a space feel more open, bright, and extravagant.Maeve Cotton Striped Ruffle Printed Duvet CoverThis is maximalism to a T: a big stripe, a ruffle detail, a bold contrast. If you’re really wanting to go for it, consider pairing this with some more playful stripes in different colors and breadths. Purple or terra-cotta could make some more sophisticated pairings here, or a light pink could make a darling decor set in a child’s bedroom (or yours!).Brooklinen x Caroline Z. Hurley Percale Core Sheet SetThis new release from Brooklinen is a favorite of commerce writer Julia Harrison’s who calls the sheet “as cute as it is comfortable.” Many an AD staffer loves the feeling of Brooklinen’s percale, and this collaboration with Brooklyn-based designer Caroline Z Hurley brings the texture and temperature we love about these sheets to a design moment that lands solidly between coastal and boho. The colorways also offer three levels of maximalism: pebble being the most subtle, and the blue or coral make for increasing intervals of depth and contrast.Clementine Atelier Medica Silk Fitted SheetIf you’re looking to make your bed the centerpiece of your maximalist dreamscape, these sheets from Clementine are a good start. A deep navy silk is both cozy and alluring—sophisticated and still sexy. Harrison confirms these sheets are “as soft as they look, and make for such a luxurious sleeping experience, it’s almost royal.”Matouk Cabanon Stripe Flat SheetThese sheets take a different approach to cottagecore than Piglet in Bed but achieve the desired look from a different, perhaps more French angle. They look like exact antique replicas—a pinstripe paired with a line of tiny florals in a soft indigo. They’re also made from percale, meaning they’re cooling, soft, and long-lasting.Marimekko Iso Unikko Duvet Cover and Sham SetMarimekko had to make the list for maximalist bedrooms. The Finnish brand has long been making their signature huge floral prints, known everywhere and anywhere, called “Unikko.” The black and white tone down its impact, while still creating a pop art impression for an art-forward space.Petitie Plume Bed Sheet SetOne more sheet set Harrison loves is this pick from Petite Plume. This is a percale that lives up to its name. “On top of being my favorite decor element in my room,” she says. “I have these blue stripes peeking from under bright white linen, and it feels like waking up in a Grecian hotel every day.” These could pair easily with more stripes, or a bright throw blanket for further impact.

Submitted by WA Contents Call For Ideas: Tiny Library 2025 Architecture Competition India Architecture News - May 24, 2025 - 09:35   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" As the world is continuously transforming and expanding, the amount of data and information created every day is also increasing constantly. Human intellect today is expected to evolve at the same rate as our world to continue our journey into the future. Despite all the information, reading and self-learning remain the most powerful tools available to mankind to consume knowledge. Learning bolsters awareness, exposure and productivity, which in turn results into development.Despite its importance, education is still inaccessible to many communities in remote locations around the world. Self-learning, especially through reading, is crucial for the society’s development. It is necessary to have places promoting education and self- learning to educate the local population within the closest proximity. It will make them accessible to gainful employment opportunities in their home towns and will thereby avoid the need for migration elsewhere."Education is the most powerful weapon which you can use to change the world." - Nelson Mandela (Political Leader, Philanthropist and former President of South Africa)."OpportunityBooks are considered to be the torchbearers for knowledge, helping mankind develop its intellect and create a world that is constantly developing. With an aim to make education more accessible, we have transformed books to digital, audio and visual formats.Despite all these efforts, books in any format are still inaccessible to various communities across our planet. It is now utterly important to focus on this lack of accessibility and prioritize towards creating a source of knowledge to isolated communities.Libraries as an educational incubator is a space that not only sheds light on conventional means of knowledge but also encourages its users to interact, share ideas and grow together. Rather than accepting urban migration as a given, a library can be designed with an aim to restore dignity and induce development.Can we rethink a library of the 21st-century public space where knowledge is not limited to books? Can we ignite the new age movement of learning?“A room without books is like a body without a soul.” - Marcus Tullius Cicero (Roman statesman and philosopher).ChallengeParticipants are to design a Tiny Library optimized for 50 users with engaging multifunctional spaces for all ages and spatial experience. The Tiny Library would be equipped with traditional reading material along with modern formats like e-books, audiobooks, audio-visual books etc.The space would be designed as a centralized think tank for the local communities with a focus on activities and functions of public interactions and community development.Participants should consider affordability and optimum use of space while designing. The designed space should be augmented to hold a maximum number of books in a limited space. The structure should not exceed 300 sq.mt. of built-up area.The proposed design should also be easy to maintain. The proposal should be iconic, inviting, and creating a statement of its own on the chosen site. The proposed design should have contact between humans and nature.The proposed designs can be visualized as mobile or stationary. One could also develop the given space as a flexible module that can be replicated so as to adapt to different site conditions, making it versatile in nature. Participants will be required to provide a justification for their design choices.The designed spaces should be innovative, encourage self-learning as well as strengthen the communal spirit. Energy saving and sustainability should be given a thought. We encourage the participants to develop their programs. The space designed should not be limited to the standard activities viz. reading and self-learning space, sanitation space, administration, reception or information desk. The design should provoke innovative activities that stimulate and accelerate learning.Site selectionRural populations across the globe face a mass exodus of its young population owing to the lack of education, health care, employment opportunities among many others.Participants are to choose a site in a rural or remote context for the proposal, wherever they feel accessibility to knowledge may change the existing circumstance. The design should be well integrated into the context.The site selected should be in a dire need of connecting to education and learning. The site should justify the participant’s design.AwardsPrizes of total USD 4500, broken down as follows:1st Prize: USD 2000 + Certificate + Publication2nd Prize: USD 1200 + Certificate + Publication3rd Prize: USD 800 + Certificate + Publication Student Award: USD 500 + Certificate + Publication10 Honourable mentions: CertificatesWinners and Honourable Mentions will be published on Volume Zero website and several international architecture and design magazines.To show our appreciation, all the participants would receive a participation certificate.ScheduleEarly Bird Registrations: 1st March 2025 to 15th May 2025 Standard Registrations: 16th May 2025 to 12th June 2025Last day for queries 10th June 2025Closing date for Submissions: 20th June 2025 Announcement of winners: 28th August 2025EligibilityTINY LIBRARY 2025 – Architecture Competition is open to all. We invite architects, students, engineers, product designers, thinkers, companies, organizations, and everyone interested in the mission of the competition to submit their ideas. No professional qualifications are necessary.Jury panelAvinash Ankalge A Threshold, IndiaBernardo Quinzaños CCA, MexicoChen Xi Atelier Xi, ChinaChenchen Hu HCCH Studio, ChinaDavid Barragán AL BORDE, EcuadorPetchimuthu Kennedy Earthscape Studio, IndiaPeter Rich Peter Rich Architects, South AfricaSong Yehao THAD SUP Atelier, ChinaSoumitro Ghosh Mathew and Ghosh Architects, IndiaSwapnil Valvatkar Collage Architecture Studio, IndiaRegistration feesEarly Bird Registrations:Participants from India – 2700+18% GST = INR 3186 (per team) Participants from Other Countries - 80 + 18% GST = USD 94.4 (per team)Standard Registrations:Participants from India – 3200 + 18% GST = INR 3776 (per team) Participants from Other Countries – 95+ 18% GST = USD 112.1 (per team)Download the competition brief from here: TL25 Brief.pdf.The top image courtesy of Volume Zero. > via Volume Zero