Casa Kani Ini / TAC Taller Alberto CallejaSave this picture!© Cesar BelioHouses•Villa de Tututepec, Mexico Architects: TAC Taller Alberto Calleja Area Area of this architecture project Area:  1340 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Cesar Belio Lead Architects: Alberto Calleja More SpecsLess Specs Save this picture! Text description provided by the architects. Casa Kani-Ini is located on a 4,500 m² plot facing the sea, in the El Vigía sector of Puerto Escondido, on the coast of Oaxaca, Mexico. The project had to accommodate a comprehensive program of spaces while also meeting the family's needs for use and permanence. Given this complexity, the main challenge was to design the house with the least possible impact on its immediate surroundings.Save this picture!Save this picture!Save this picture!Save this picture!Based on this premise, the approach was to break down the total built area into several strategically distributed structures. The social and recreational area was resolved through a continuous nave, supported by a mixed structure of wood and concrete, oriented towards the beach and the Pacific Ocean. This nave features a single-sloped roof and a flat slab section, on which a rooftop was designed. This elevated space offers new contemplative perspectives, inviting permanence and enhancing the visual and sensory experience from a higher level.Save this picture!Save this picture!At the heart of the house, a central green water courtyard serves as a transition point between spaces. This element not only connects the different areas but also provides privacy and acts as the natural distributor, defining the organic core of the house.Save this picture!The bedrooms and service areas are distributed across six independent modules, positioned at the rear of the property in a staggered arrangement. This layout constructively isolates the spaces, creating solid volumes that are connected only through circulation bridges. In this way, the built mass is fragmented throughout the site, achieving a more harmonious integration with the surrounding environment.Save this picture! Project gallerySee allShow less About this office MaterialWoodMaterials and TagsPublished on May 13, 2025Cite: "Casa Kani Ini / TAC Taller Alberto Calleja" 13 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030009/casa-kani-ini-tac-taller-alberto-calleja&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Researchers reviewed ocean floor samples collected during the Deep Sea Drilling Project in 1975. Credit: Deposit Photos / Oleg Dorokhin Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. There was a time long ago when the Atlantic Ocean didn’t exist. The general understanding among geologists is that the body of water originated between 83 to 113 million years ago, when South America and Africa split into their two respective continents to form the Equatorial Atlantic Gateway. However, Earth’s marine history appears to require a multimillion-year revision thanks to a recent discovery roughly half a mile beneath the ocean floor. The evidence is explored in a study published in the June edition of the journal Global and Planetary Change. According to geologists at the UK’s Heriot Watt University, gigantic waves of mud and sand sediment about 250 miles off the coast of Guinea-Bissau in West Africa indicate the Atlantic Ocean actually formed around four million years earlier than previous estimates. To understand just how intense all of this movement was, imagine waves that are about half a mile long and over 300 feet high.  “A whole field formed in one particular location to the west of the Guinea Plateau, just at the final ‘pinch-point’ of the separating continents of South America and Africa,” study co-author Uisdean Nicholson explained in a statement. Nicholson and their colleagues initially came across these layers of mud waves after comparing seismic data with core samples collected from wells during the Deep Sea Drilling Project (DSDP) of 1975. Five layers in particular were utilized to recreate the tectonic processes that broke apart the ancient supercontinent of Gondwana during the Mesozoic Era. “One layer was particularly striking: it included vast fields of sediment waves and ‘contourite drifts’—mud mounds that form under strong bottom currents,” said Nicholson. These waves initially formed as dense, salty water poured out from the newly created Equatorial Atlantic Gateway, “like a giant waterfall that formed below the ocean surface,” he added. Just before the geologic event, huge salt deposits formed at the bottom of what is now the South Atlantic. After the gateway opened, the underground mudfall occurred when dense, relatively fresh Central Atlantic water in the north combined with very salty waters in the south. The resulting sedimentary evidence examined by the study’s authors now indicates this opening seems to have started closer to 117 million years ago. “This was a really important time in Earth’s history when the climate went through some major changes,” explained study co-author Débora Duarte. “Up until 117 million years ago, the Earth had been cooling for some time, with huge amounts of carbon being stored in the emerging basins, likely lakes, of the Equatorial Atlantic. But then the climate warmed significantly from 117 to 110 million years ago.” Duarte and Nicholson believe part of that major climatic change  helped from the Atlantic Ocean, as seawater inundated the newly formed basins. “As the gateway gradually opened, this initially reduced the efficiency of carbon burial, which would have had an important warming effect,” said Duarte. “And eventually, a full Atlantic circulation system emerged as the gateway grew deeper and wider, and the climate began a period of long-term cooling during the Late Cretaceous period.” The ramifications go beyond revising Earth’s geological timeline or the gateway’s role in Mesozoic climate change. Better understanding the influence of oceanic evolutionary journeys on ancient climate patterns can help to predict what the future holds for the planet.  “Today’s ocean currents play a key role in regulating global temperatures,” explained Nicholson. “Disruptions, such as those caused by melting ice caps, could have profound consequences.”

The International Architecture Exhibition – La Biennale di Venezia,  has returned, with its grand opening held in early May. The exhibition runs until November 23, 2025 The Canada Council for the Arts, Commissioner of Canada’s official participation in the International Architecture Exhibition – La Biennale di Venezia, administers the selection process and oversees the exhibition at the Canada Pavilion. But in addition to the Canada Pavilion, Canadian architects and designers have a presence in several other exhibitions that are part of this year’s festival. Here’s a round-up of the Canadian work in Venice. Picoplanktonics. Photo credit: Valentina Mori Picoplanktonics led by Living Room Collective Canada’s official entry to the Biennale is Picoplanktonics, a 3D-printed living artwork incorporating cyanobacteria—a global first at the intersection of architecture, biotechnology, and art. The exhibition, developed by the Living Room Collective, showcases the potential for collaboration between humans and nature. Picoplanktonics is an exploration of the potential to co-operate with living systems by co-constructing spaces that “remediate the planet rather than exploit it.” The installation transforms the Canada Pavilion into an aquatic micro-ecosystem, where architectural structures grow, evolve, and naturally degrade alongside their living components. It was designed according to regenerative architecture principles, and is not only a built object, but also a breathing organism interacting with its environment, which prompts reflection on potential futures of the built environment. The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, Vincent Hui and Clayton Lee. Etude Ile Verte by Atelier Pierre Thibault. Photo credit Alex Lesage Les boucaneries de l’île Verte by Atelier Pierre Thibault Atelier Pierre Thibault has been invited to participate in this year’s Venice Biennale as the only team from Québec. His project is inspired by the old fish smokehouses, or boucaneries, of Île Verte. With the support of the fifty permanent residents of Île Verte, Atelier Pierre Thibault has designed a participatory architectural project that aims to reinterpret the boucaneries as creative canvases to imagine new uses to strengthen Île Verte’s autonomy. This includes community greenhouses, artist studios, and gathering places. The exhibition aims to highlight, as Thibault puts it, “the strength of a sensitive and collective gesture in response to the erosion of traditional buildings and the major climate challenges faced by inhabitants living year-round in an isolated island environment.” The construction of the installations, along with the exchanges sparked with the community, was documented through photography and video, and captures both the process and the spirit of collaboration that defined the project. Celebrating the Verdoyants’ collective intelligence and inviting reflection on the future of the boucaneries, this participatory project highlights the exemplary and internationally resonant nature of this approach. The Atelier Pierre Thibault project will be on view at the Corderie dell’Arsenale. The pavilion itself will take the form of a temporary, lightweight structure constructed from reused materials, situated on the grounds of the French Pavilion, which is currently undergoing renovation. The curators have selected 50 projects to be featured across six thematic sections: Living With the Existing, the Immediate, the Broken, Vulnerabilities, Nature, and Combined Intelligences. Image courtesy of WZMH Architects Speedstac by WZMH Architects as part of Living With…Combined Intelligences  As part of the exhibition “Living With… Combined Intelligences,” WZMH Architects presents Speedstac, a prefabricated modular precast solution that aims to reimagine how urban areas devastated by war can be rebuilt. Originally designed to accelerate housing construction in Canada, Speedstac took on urgent new relevance following the Russian invasion of Ukraine. With more than 170,000 buildings damaged or destroyed and millions displaced, WZMH’s innovation, developed through its R&D lab, sparkbird, aims to offer a scalable solution: self-contained, plug-and-play building modules with integrated electrical and plumbing systems that can be seamlessly inserted into existing structures. The use of modern materials such as high-performance concrete can reduce the weight of the modules, making them easier to lift and move using conventional crane equipment. Using a robust locking mechanism, several modules can be securely fastened and unfastened as needed, to produce an adaptive modular housing solution. The Speedstac system aims to offer a solution to the challenges of traditional construction methods, enabling faster, more flexible, and more sustainable building projects. The Vivre Avec / Living With exhibition is hosted in the French Pavilion. Presentation, Northern Horizons. Photo credit: Blouin Orzes architectes Northern Horizons by Blouin Orzes architectes as part of Time Space Existence  Through a wide selection of projects—ranging from conceptual works, models and photographs to videos, sculptures and site-specific installations—the exhibition Time Space Existence, hosted by the European Cultural Centre, aims to provoke participants to question their relationship with space and time, re-envisioning new ways of living and rethinking architecture through a larger lens. Quebec firm Blouin Orzes’ participation revolves around their first-hand understanding of Inuit territories, where they have been working since 2000. Their contribution is based on their  recent publication, Northern Journeys. Blouin Orzes’ contribution in on display at the Palazzo Mora, and additional contributions to Time Space Existence are on view at the Palazzo Bembo and Marinaressa Gardens. View of Commercial and Residential Towers from Seymour and West Georgia Streets. Image credit: Henriquez Partners Studio BC Glass Sea Sponge Another contribution to Time Space Existence is the work of Henriquez Partners Studio. The transformative mixed-use development which they are presenting merges architectural innovation, social responsibility and urban revitalization, and has recently been submitted to the City of Vancouver. The project is about ambitious city-building, and aims to unlock public benefits on currently underutilized land in a way that supports some of the city’s most urgent needs, while contributing bold architecture to the city skyline. Four towers, designed by Henriquez, draw inspiration from rare and ancient glass sea sponge reefs, whose ecological strength and resilience have shaped both form and structure. These living marine organisms, which are unique to the Pacific Northwest, aim to serve as a metaphor for regeneration and adaptation. This concept is translated through the architectural language of the towers: silhouettes, sculptural forms, and sustainable performance. The tallest tower, a stand-alone hotel, proposed at 1,033 feet, is shaped by a structural diagrid exoskeleton that allows for column-free interiors while maximizing strength and minimizing material use. Developed in collaboration with Arup, the structural system references the skeletal lattice of sea sponges; a concept researched at Harvard for its groundbreaking structural efficiency. Henriquez Partners’  contribution is on display at Palazzo Bembo. Renewal Development Shishalh Project Duplex Renderings – Image credit: Renewal Development Shíshálh Nation: Ten Home Rescue Project as part of theLiving With / Vivre avec exhibition Vancouver-based company Renewal Development has been selected to appear as part of the French Pavilion’s exhibition on housing innovation. In 2024, Renewal Development partnered with developer Wesgroup and the shíshálh Nation to relocate ten high value Port Moody homes set for demolition to the shíshálh Nation on the Sunshine Coast. The Nation has been experiencing an acute housing shortage with 900 Nation members currently on a waitlist for housing. Renewal Development says that this initiative reflects its “deeply held values of sustainability, and reconciliation” and its “work to offer real-world solutions to waste and housing shortages by reimagining what already exists.” The project will be on display in the French Pavilion. The following is a list of other Canadian groups and individuals contributing to this year’s Venice Biennale: On Storage Brendan Cormier is a Canadian writer, curator, and urban designer based in London. He is currently the lead curator of 20th and 21st Century Design for the Shekou Partnership at the Victoria and Albert Museum. Prior to this he served as the managing editor of Volume Magazine. La Biennale di Venezia and the Victoria and Albert Museum, London present for the ninth consecutive year the Applied Arts Pavilion Special Project titled On Storage, curated by Brendan Cormier, in collaboration with Diller, Scofidio + Renfro (DS+R). It explores the global architecture of storage in service of the circulation of things, and features a newly commissioned six-channel film directed by DS+R. From Liquid to Stone: A Reconfigurable Concrete Tectonic Against Obsolescence Inge Donovan, based in Boston, achieved her Bachelor of Arts in Architectural Design and Architectural History, Theory and Criticism from the Daniels Faculty of Architecture at the University of Toronto in 2019 after growing up in Nova Scotia, Canada. The Curse of Dimensionality Adeline Chum is currently a Graduate Research Assistant at the Center for Spatial Research and third-year student in the MArch Program at GSAPP. She has received her Bachelor of Architectural Studies from the University of Waterloo, Canada and has worked in small and medium-sized architecture firms in Toronto, New York, and London. Oceanic Refractions Elise Misao Hunchuck, born in Toronto and currently based Berlin and Milan, is a transdisciplinary researcher, editor, writer, and educator. Her practice brings together architecture, landscape architecture, and media studies to research sites in Canada, Japan, China, and Ukraine, employing text, images, and cartographies to document, explore, and archive the co-constitutive relationships between plants, animals, and minerals—in all of their forms. SpaceSuits.Us: A Case for Ultra Thin Adjustments Charles Kim is a designer currently based in Boston. Stemming from his background in architecture, he is interested in materials, DIY, and the aesthetics of affordability. Since graduating from Harvard Graduate School of Design in 2022, he has been working as an architectural designer at Utile. Uncommon Knowledge: Plants as Sensors Sonia Sobrino Ralston is a designer, researcher, and educator, and is currently an Assistant Teaching Professor in Landscape Architecture and Art + Design at Northeastern University in the College of Arts, Media, and Design. She is interested in the intersections between landscape, architecture, and the history of technology. Doxiadis’ Informational Modernism Mark Wasiuta is Senior Lecturer in Architecture at Columbia GSAPP and Co-Director of the Critical, Curatorial and Conceptual Practices in Architecture program. Wasiuta is recipient of recent grants from the Onassis Foundation, the Asian Cultural Council, NYSCA, and the Graham Foundation, where he was an inaugural Graham Foundation Fellow. Blue Garden: The Architecture of Emergence Tanvi Khurmi, based in London, UK, is a multidisciplinary designer and artist. Her practice is focused on addressing and combatting issues surrounding the climate crisis. After receiving a Bachelor’s in Architecture with a minor in Environmental Studies from the John H. Daniels Faculty of Architecture at the University of Toronto, she earned a Masters of Architecture in Bio-Integrated Design at the Bartlett School of Architecture at University College London. Design as an Astronaut Dr. Cody Paige is the Director of the Space Exploration Initiative at the MIT Media Lab, a team of 50+ students, faculty, and staff building and flying advanced technology for space exploration. The Initiative focuses on helping students take their research into space. The pipeline developed to achieve this works with students from across the Media Lab and the MIT community to prototype space-related research in the lab, fly and test them in microgravity on parabolic and suborbital flights, and finally to take them to the International Space Station or on to the Moon. Cody also has a background in geology, specifically quaternary geochronology, and completed her Master of Applied Science at the University of Toronto in Aerospace Engineering and her Bachelor of Applied Science from Queen’s University in Engineering Physics.   The post Round-up: Canadian-led exhibitions at the 2025 Venice Biennale appeared first on Canadian Architect.

Although their apartment was new, it wasn’t ready for them to move in. At least, that’s what this small family made up of a couple, their two-year-old boy, and a friendly dachshund thought. The home they had bought was missing something. “They weren’t satisfied with the finishings and the layout of the space. That’s why they entrusted us with carrying out a complete renovation to transform it into a warmer, more functional, and personalized place,” explains Not a Studio.Most of the work of the refurbishment was focused on the home’s living spaces. Above the worktop, a sculpture by the artist Pedro Hoz. The Barcelona-based firm, whose very name announces its outside-the-box approach, got to work. “During the design process, we identified areas to improve that succeeded in giving a new coherence and fluidity to the entire space. In the sleeping area, we made some small adjustments to the partitions, which resulted in a significant improvement in terms of comfort and an efficient use of space. We reorganized the bedrooms to create a greater sense of privacy and functionality, while we optimized other rooms to make the most of every square inch.”All of the cabinet fronts in the home—in the kitchen, living room, and bathrooms—are by Cubro, a Spanish company that specializes in creating new fronts for IKEA installations. However, the studio’s efforts were mainly focused on optimizing the living space, improving circulation in the apartment to increase the feeling of spaciousness, and making the most of its natural light. One of the focal points of the change was the kitchen, which was completely renovated. To achieve this, a new central axis was created, a semicircular island with two different heights. It functions as a food preparation area, an extra desk, and a bar. All the cabinet fronts in the home, including those in the kitchen, living room, and bathrooms, were designed and manufactured by Cubro, with a uniform aesthetic and high-quality finishes.The kitchen is open to the living room but at the same time a low wall provides a partial separation between the two spaces. “The rounded shape of the kitchen island establishes an aesthetic connection with other curved elements of the design, such as the floor of custom-designed tiles by Mosaic Factory. The visual harmony is reinforced by a round table and the niches with rounded edges that provide a 1970s feel while also lending continuity and warmth to the space,” say the project’s designers.Cabinets customized by Cubro and, above them, a mirror with a playful look. Much of the furniture in the apartment was sourced from the concept store RS Barcelona. This common area sets the tone for the entire interior design, which combines pastel colors with other more powerful accents. A graphic aesthetic is the foundation of a Pop-art apartment, with the Memphis movement’s resurgence in the past few years being a prime example. It makes sense that elements with visually pop often rally in more engagement online, and in this apartment, grids (such as the one formed by the main wall, which extends into the living room), distinct geometric shapes (found in the cushion patterns and the parabolic shape of the lamp, among other elements) and comic book-like details feel like stepping into the visual universe of Pop artists like Roy Lichtenstein.An ingenious solution using a sliding screen makes it possible to hide the television completely. “Aesthetically, we chose a vibrant palette and natural materials that bring life to every corner of the apartment. Primary colors predominate, with yellow and blue as the main colors, and green, orange, and red as accents found in the home’s decorative details. We opted for integrated storage solutions and design elements that highlight the personality of the space, while maintaining the overall harmony of the home,” Not a Studio explains.Different geometric patterns and shapes can be found throughout the home’s interior. Custom pieces also result in a comprehensive and cohesive aesthetic that makes the 926 square feet feel even more spacious. They also have another advantage in that they were created with the specific needs of the owners in mind.Above the bed, a work by artist Pedro Hoz. Despite the apartment’s aesthetic, the firm ensured that the materials chosen, such as wood and stone, are natural and high quality, with the intention of creating a cozy and timeless atmosphere. “In the kitchen and bathrooms, we selected contemporary and functional finishes, with easy-to-maintain surfaces and an aesthetic that balances modernity and warmth. In the bathrooms and the bedroom suite, we used microcement to give continuity to the space and highlight the repetitive geometry of the 10-by-10 centimeter square tiles,” they explain. Also note the ingenious use of panels to hide the television, and other space-saving solutions.In the bathroom of the principal bedroom, there’s a connection to the aesthetics of the kitchen. “The result of this intervention has been a total transformation. The apartment, which previously lacked any distinguishing character, has become a home full of personality, designed to reflect the essence and needs of the people who live here,” Not a Studio says.This Pop-art apartment was originally published by AD Spain. It was translated by John Newton.A mirrored door helps to make the apartment feel larger. A detail of the child’s room. Another of the home’s bathrooms. Not a Studio.