html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The São Paulo International Architecture Biennale is one of the most important venues for the promotion and discussion of Brazilian architectural culture. Its history begins in 1951, when it was part of the São Paulo Art Biennale as the International Architecture Exhibition. There were eleven editions between 1951 and 1971. Under 1973, the first BIAsp under the current format was conducted. Over two million individuals are thought to have attended the 13 biennales since then; certain editions, such as the 12th, had over 300,000 guests.This year, the 14th São Paulo International Architecture Biennale will take place from September 18 to October 19, 2025, at the Oca Pavilion in Ibirapuera Park, an iconic building designed by Oscar Niemeyer.The curatorial proposal is "Extremes: Architectures for an Overheated Planet", emphasizing the problem of climate extremes. The point of no return challenges us to reconsider how we live on Earth, looking for solutions not just in production studies and scientific discoveries but also in the knowledge of Indigenous villages, quilombos (traditional communities of enslaved people who have escaped), and urban peripheries. By offering tangible solutions to global warming and methods for adjusting to the extreme occurrences we are already seeing, the Biennale will act as a meeting place for various knowledge systems.The 14th BIAsp's curators have identified five thematic axes that will direct the event's talks, ideas, and proposals, drawing inspiration from the IPCC's (Intergovernmental Panel on Climate Change) findings, especially the AR6 report:–Preserving Forests and Reforesting Cities–Embracing Water–Refurbishing More and Building Green–Moving and Reaching Places Together with Renewable Energies–Ensuring Climate Justice and Social HousingSix architects—Renato Anelli, Karina de Souza, Marcos Cereto, Clevio Rabelo, Marcella Arruda, and Jerá Guarani—are part of the collective curatorship for the 14th BIAsp this year. Through their professional activities, they represent many regional contexts throughout Brazil.The top image in the article courtesy of São Paulo International Architecture Biennale.> via São Paulo International Architecture Biennale

The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei Studio (as curated by Colony) Maggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax.

Version 1.0.0 By Robert Jan van Pelt (Park Books, 2025) The largest artifact in the touring exhibition Auschwitz. Not Long Ago. Not Far Away., currently on display at the ROM in Toronto, is a wooden barracks building. It’s from the Auschwitz-Monowitz camp, a satellite to Auschwitz created to provide slave labour to the IG Farben corporation for the construction of a synthetic rubber factory.  The discovery of a sister building, back in 2012, led exhibition chief curator and architectural historian Robert Jan van Pelt, University Professor at the Waterloo School of Architecture, on a research journey to write a comprehensive history of the barracks—temporary buildings that have not only housed prisoners, but also provided shelter for military servicemen and women, refugees, and natural disaster survivors. “Many people have experienced, for shorter or longer time periods, life in a barrack, and for all of them it represented life on the edge, for better or worse,” writes Van Pelt. Worm’s eye axonometric of Renkioi Hospital Barrack, a prefabricated hospital designed by Ismabard Kingdom Brunel for a site in Turkey, 1857. Van Pelt’s book criss-crosses with ease through architectural history, military history, and the history of medicine—all of which played crucial roles in the evolving development of this seemingly simple building type. The book is arranged in a dozen episodes, with the barrack at the centre of each, serving as an anchor point for unfolding the rich intellectual and historical context shaping the way these structures were developed and deployed. The book is richly illustrated with archival materials—a feat in itself, given that the documentation for temporary buildings, particularly before 1900, is scarce. These drawings, photos, and paintings are supplemented with 20 worm’s eye views of key buildings, carefully composed by a team of Waterloo architecture school students and alumni.  Thomas Thomaszoon, View of the headquarters of the Spanish in the Huis tea Kleef during the siege of Haarlem, 1572-73. Collection of Noord-Hollands Archief, Haarlem; courtesy Robert Jan van Pelt Like many vernacular buildings, temporary structures larger than a tent, designed to house soldiers in the field, have existed at least since Ancient Rome. One of the first visual accounts of barracks came centuries later, in the winter of 1572, when the Spanish laid siege to the Dutch city of Haarlem, and cartographer Thomas Thomaszoon sketched the position of dozens of Spain’s wood-and-straw structures outside the city. The siege was successful, but only a few years later, the Dutch Republic gained the upper hand. As part of the creation of a standing army, they began to develop more precise instructions for the layout of camps, including the construction of temporary barracks. Antoine-François Omet des Foucaux, Barrack constructed in Hendaye, France, 1793. From Jean-Charles Krafft, Plans, coupes et élévations de diverses productions de l’art de la charpente, 1805. Collection of Bilbliothèque Nationale de France, Paris. Courtesy Robert Jan van Pelt The Napoleonic army made use of barracks in both military camps and training camps; by the mid-1800s, the construction of various barrack types was detailed in field construction manuals issued to officers in many European armies. During the Crimean War (1853-56), over 3,500 prefabricated barracks were manufactured in a Gloucester factory, as a solution to the appalling conditions at the front. But when the structures arrived at port, British forces were not able to unload and erect them—the materials for a single building weighed more than two tons, and each would require 60 horses (or 150 men) to transport to camp on the muddy roads.  The US (Union) Army’s Lincoln Hospital, Washington, DC, 1865. Collection of Library of Congress, Washington, DC. Courtesy Robert Jan van Pelt Prefabrication was also used, with somewhat more success, towards the end of the conflict to erect field hospitals designed by British engineer Isambard Kingdom Brunel with a priority on cross-ventilation to limit the spread of disease. Low mortality rates from similar structures led to a continued preference for “barrack hospitals” based on groupings of low-slung, well-ventilated pavilions, rather than conceived as single grand structures. The model was further refined with the addition of primitive underfloor heating and ridge ventilation by former surgeon William A. Hammond for the Union Army during the American Civil War (1861-65).  Barrack hospitals were constructed for civilian use, as well. Following the conclusion of the Franco-Prussian war (1870-71), such designs were built to house patients with infectious diseases in Berlin and proposed as a means to bring professional medical care to Germany’s rural areas. A barracks-inspired hospital was built in Saint Petersburg, Russia, in 1889, and continues to be operational.  If the barrack as an accommodation for the sick is a progressive tale, the 19th-century history of the barrack is equally checkered by the building type’s use for prisoner accommodation, including in the penal colonies of Australia and French Guiana. In North America, barracks were used in an internment camp for Native American Dakotas, and Civil War-era Union barracks at Camp Douglas were used to house Confederate prisoners. The oldest preserved barrack in the world may be in Canada, at Grosse Isle national park. Here, barrack-style quarantine sheds were used to detain thousands of Irish immigrant families during the typhoid fever epidemic of 1846-47, and their damp, fetid conditions contributed to many deaths—an episode Van Pelt describes as a “blot on the national consciousness of Canada.” A single Doecker Hut contains an operation room, pharmacy and hospital management office. The prefabricated, portable hospitals were developed in 1885, and used around the world, including in the First World War. In America, they were marketed for managing epidemics in the wake of the 1892 typhus fever outbreak in New York. Courtesy Berlin State Library and Robert Jan van Pelt   At the turn of the 19th century, the prefabricated portable barrack came to the fore with the manufacturing of the Doecker barracks, by Christoph & Unmack, a firm based in Copenhagen and Germany. Developed by a former military officer-turned-tentmaker, the technically sophisticated model used large rectangular frames that could be clipped together, and covered with “felt-cardboard”—dense felt pressed onto canvas and impregnated with linseed oil. The self-supporting structures proved easy to set up, dismount, and transport, making them suitable for both military applications—and, with little modification, for humanitarian aid. The Red Cross deployed Doecker barracks for use as field hospitals in Manchuria and Yokohama during the Russo-Japanese War (1904-05).  The Barrack, 1572-1914 wraps up in in the early 20th century, but with the note that in the ensuing decades until 1945, millions of barracks were produced by many of the world’s major nations—and that most of these were erected in barbed-wire-ringed compounds. “This is the period in which tens if not hundreds of millions of people, many of whom were civilians, were forced to live in barracks, as refugees, as expellees, as civilian internees, as forced laborers, as prisoners or war, as concentration camp prisoners, and as people made homeless by the destruction wrought by war,” writes Van Pelt. Up until 1914, he notes, this building type largely carried a sense of achievement—an image that would change sharply with the Age of the Camps. But although a WWII barrack was responsible for instigating Van Pelt’s initial investigation, that time period will need to await a second volume on this simple building type with a rich, complex, and complicated history.   As appeared in the June 2025 issue of Canadian Architect magazine  The post Book Review: The Barrack, 1572-1914—Chapters in the History of Emergency Architecture appeared first on Canadian Architect.

Architectural education is an important part of becoming an architect. It provides a foundation in art and architectural history, basic concepts of design, and foundational technical knowledge. It promotes critical thinking, examines social and economic complexities, and encourages creativity and teamwork. I may be biased, but I believe the camaraderie and pride that are part of architectural students’ design studio experience are unmatched by any other educational program.    In this issue of the AIA Canada Journal, Pauline Thimm, Hannah Allawi and I reached out to schools of architecture from across the country. Our conversations centred on research themes in today’s design studios, with a focus on housing affordability. Students and faculties are actively engaging in challenging the status quo on the shortage of housing. It takes a village to derive plausible solutions—and schools of architecture across the country are united in bringing their voices and minds to this pressing issue. In a Social Sciences and Humanities Research Council (SSHRC)-supported partnership, AIA Canada Society is also actively participating in research on designing inclusive, sustainable and healthy cities.  We want to thank all the educators who took time to speak with us and provide their invaluable insights.  -Dora Ng, AIA Canada Society President Rick Haldenby Professor, School of Architecture, University of Waterloo Rick Haldenby, FRAIC, served as Director of the School of Architecture at the University of Waterloo from 1988 to 2013, and founded the Waterloo Rome Program in 1979. Among many accomplishments, Haldenby was appointed to the Order of Canada in 2021, and has received the Lifetime Achievement Award from the Canadian Council of University Schools of Architecture, the Special Jury Prize at the Kitchener Waterloo Arts Awards, and the Dr. Jean Steckle Award for Heritage Education from the Waterloo Regional Heritage Foundation. Q: Kitchener-Waterloo is known as a university town that is home to top Ontario post-secondary institutions. Tell us a bit about the twin cities. A: The Waterloo Region’s industrial development began with the arrival of German-speaking immigrants in the 19th century. Its cities were literally “founded on factories.” Its prosperity was influenced by a rail-based transport system. In the late 19th century, the extension of the Grand Trunk Railway contributed to the industrialization of the area. In the 1950s, visionary community leaders made concerted efforts to build educational infrastructure, and in just a few years created the University of Waterloo, Wilfrid Laurier University and Conestoga College. The region experienced significant growth in manufacturing industries, insurance companies, and high-tech businesses over time. Home to two universities and a college, it is an education hub that attracts talents and businesses, which increases the demand for housing for students and families. The once-suburban neighbourhood of Northdale, surrounded by these post-secondary institutions, saw a surge in student population in the early 2000s, including a large percentage of international students. We saw a building boom to increase medium-density housing like stacked townhomes and row houses, as well as taller buildings up to 30+ stories in what was once a primarily low-density town. Q:  Like the building boom in Waterloo, we saw many residential high-rises going up in the GTA, but this growth still does not adequately address housing demand. In many cities across Canada, there are unprecedented housing issues including affordability and homelessness. What do you see emerging as key areas of interest and inquiry among students at your school? Is housing one of them? A: Connection between affordability and homelessness is not a one-to-one problem. The housing crisis can have many dimensions. In our undergraduate design studios, we are laying the groundwork for approaches to affordability, environmental responsibility and social justice. Many of my colleagues and graduate students at the University of Waterloo are involved in various research studies, exhibitions and campaigns, including the 2023 Venice Architecture Biennale. We also try to keep a balance to cover diverse topics in architecture, including housing. Second- and third-year design studios focus on urban intensification amid the building boom, enabling students to discuss ideas for keeping cities habitable and attractive for future growth. Design studios have also worked with the local chapter of Habitat for Humanity to support the ambitious program to build affordable housing for families in need. In partnership with the City of Cambridge, Waterloo architecture students designed and built tiny homes as prototypes for emergency shelter. Photo courtesy University of Waterloo Q: Any examples of collaboration between studio projects and practicing professionals in tackling the housing crisis? A: Through collaboration and communication with the community, the School of Architecture has engaged with social housing agencies, municipality planning authorities, Indigenous groups and aging-in-place consultants to develop housing solutions for a diverse population including seniors. Moving the School of Architecture from Waterloo to Cambridge in 2004 was a communal project with great support from the City of Cambridge. Occupying the repurposed silk mill in Cambridge, the school aims to be the design campus for the city to allow exchange of creative ideas and intellectual stimulation. Since the move, we have had many opportunities to collaborate and work closely with the municipality. The Tiny Homes project is an initiative in partnership with the City of Cambridge, whereby Waterloo architecture students were engaged to design and build prototype tiny homes that offer practical, cost-effective and dignified emergency housing solutions. It is an example of collaboration that makes a meaningful difference.  Photo by Danielle Sneesby Shauna Mallory-Hill Associate Professor and Associate Dean of Research, Faculty of Architecture, University of Manitoba Shauna Mallory-Hill, PhD, is currently Associate Professor and Associate Dean of Research at the University of Manitoba’s Faculty of Architecture. Her 25-year-long career spans teaching, research and advocacy, with a focus on building systems, universal and sustainable design, as well as building performance evaluation. Her sponsored research includes accessible design, along with post-occupancy work on how sustainably designed environments impact human health and productivity. Q: How is The University of Manitoba Faculty of Architecture (FAUM) specifically engaging in design explorations addressing housing?  A: In addition to hosting public events and delivering focused design studios, we are actively engaged and support research collaborations including funded research with the Social Sciences and Humanities Research Council (SSHRC) and the Canada Mortgage and Housing Corporation (CMHC). We are also committed to partnering and working with communities.    In 2022, U of M professor Lancelot Coar’s undergraduate studio engaged with One House Many Nations to develop a mobile design and construction trailer for on-site design-build work. Photo by Lancelot Coar One House Many Nations (OHMN) originally started as a grassroots movement to shed light on the housing crisis faced by Indigenous communities.  For the past four years, OHMN, led by Dr. Alex Wilson and Sylvia McAdam, has been working with faculty and students from FAUM, houseless First Nations youth, and students at Saskatoon’s Nutana Collegiate to design and construct small, affordable homes that are trucked to remote Indigenous communities in Northern Saskatchewan. After a house is delivered, it is occupied by one of the youth participants. Each year, another house is built, informed by post-occupancy data that was collected on the previous year’s house(s).  First Nations youth participants have learned to advocate for community needs while gaining skills and knowledge about home-building and maintenance.  Lancelot Coar’s 2022 undergraduate architecture studio engaged with OHMN to create a mobile design lab that can be brought onsite to design-build in First Nations communities. OHMN’s work was exhibited at the Canadian Pavilion at the Venice Biennale of Architecture in 2023.    Q: What are key areas of interest and inquiry among students at your school? Is housing one of them?  A: We are seeing that this generation is increasingly concerned about what is happening to the world—concerns about sustainability, housing, and food deserts are paramount. Students want to work on things that are meaningful. Students also really embrace hands-on learning. Any time students are encouraged and supported to engage with community, they feel like they are making a difference.     Here in Winnipeg, we can all see the encampments of the unhoused. It is apparent that there is work to do to solve this dilemma.This past year, one of our housing-themed studios worked with a local grassroots organization, St. Boniface Street Links, in the design and construction of a prototype transitional house as a safer interim housing solution. This housing project ultimately was built and included as part of the annual Warming Huts design competition at the Forks. Q: Are there any barriers to collaborating in this way, involving practitioners and real community groups? A: We often get groups who approach us to collaborate. We need to be clear that we are not providing a design service, but we are committed to the exploration of ideas and working together on important problems.     It is important to me that doing housing research work in collaboration with Indigenous communities is respectful, responsible and reciprocal. Ensuring that some benefit of the research stays with the community is crucial, given the long history of research involving Indigenous populations where this did not happen. A willingness to listen and understand community priorities and context—and adapt—is key.  It can be difficult for some to have enough capacity to deal with added administration (meetings, paperwork, report writing, etc.); a local liaison is helpful.  The Wîkiwin student-built house is part of an ongoing collaboration with Kawéchiwasik Development Corporation at York Factory First Nation. Photo by Shauna Mallory-Hill Q: Some of your current research and design work is supported by the CMHC Housing Supply Challenge. Can you tell us a bit about that project?  A: The CMHC funding in part supports the Wîkiwin Training Enterprise of York Factory First Nation project, geared to building healthy homes by leveraging local resources and tradespeople in collaboration with the Kawéchiwasik Development Corporation. The purpose is to provide design education and construction skills in the northern communities where they are needed. A key goal is that kids won’t need to leave their communities to get skills, and communities can develop capacity to increase their self-sufficiency.    In collaboration with FAUM, the project will include a comprehensive education model based on a co-created curriculum, training programs, housing designs and research on building materials. Students earn micro-credentials through distance education to get basic training in design and construction, or have the opportunity to work as research assistants to assist with collection of data, such as indoor air quality.     Focusing on sustainable construction techniques, using local materials like stone and wood, the initiative promises to employ residents, cut production costs, and enhance housing quality. Additionally, the creation of a year-round skilled trades school facility and housing for students and teachers will boost the local labour force.    Stage 2 of the project involves the building of the Wîkiwin skilled trades training and research facility and dormitory. This phase will also see the expansion of the educational curriculum in partnership with the University of Manitoba, ultimately increasing the labour force capacity of York Factory First Nation and creating more opportunities for its youth.  Sasha Tsenkova Professor of Planning and Director of the Cities, Policy & Planning Lab at the School of Architecture, Planning & Landscape (SAPL), University of Calgary Sasha Tsenkova, PhD, is a professor at the School of Architecture, Planning & Landscape at the University of Calgary. With a background in architecture, urbanism, and planning, her work spans over 30 years of research, teaching, and professional practice, focusing on creating more inclusive and sustainable urban environments. She is a Fellow of the Canadian Institute of Planners and a Fellow of the Royal Society of Canada/Academy of Social Sciences. Q: Major cities across Canada are seeing unprecedented housing issues. As an educator, what have you seen in research or studio projects that tackle these issues?    A: We are a nation of suburban homeowners, where much of the wealth creation in the urban system is driven by investment in housing. Today, income and wealth inequality in Canadian cities is higher than ever before, which is exacerbated by the suburban homeownership model. In cities, newcomers to the housing market—young and old—face incredible affordability constraints. Homelessness has grown exponentially and homeownership is not within the reach of the middle class. In the design world, we must begin to address, through systemic intervention, these challenges. Many of our research and studio projects focus on sustainable urbanism through designs  that explore strategies to provide affordable homes across the income spectrum and embrace different types of housing.      We cannot continue to replicate a model of postwar city building that no longer serves the needs of the people. We encourage students to learn from successful cities in Europe, Latin America, and the United States, where a more systematic approach to neighbourhood design and redevelopment allows various types of housing to be built along the same street within a community. This is a different approach to growth premised on urban regeneration and intensification, where people come before cars and community identity evolves over time.   Q: Any examples of collaboration between studio projects and practicing professionals in tackling the housing crisis?  A: We focus on community-engaged scholarship, research and teaching at SAPL. Integration with communities of practice is necessary, but so is a direct relationship with clients, so that we situate our studio projects in the real-world. The housing crisis is multi-faceted and future professionals need to be aware of the complexity of design intervention—solutions require a nexus of policy, planning and design approaches. In a graduate school, we must prepare aspiring designers, architects and planners to embrace these challenges.      The interface with critical practice is the ultimate test for us to remain relevant and committed to innovation and excellence within the realm of what we can control. Studio teaching needs to address housing affordability in a systematic way, as it will make a critical difference within Canadian society and will define the future of our cities. This requires a much stronger emphasis on sustainable urbanism and community-based projects.  Q: What policies do you feel cities in Canada should create or address to aid in addressing the housing crisis and homelessness?  A: The planning regulation, upzoning, and permitting processes can be improved to enhance infill housing, gentle density and inner-city intensification. Recognizing that cities and neighbourhoods need to be built for people and not for cars requires a focus on transit-oriented development in strategic locations where low-density retail, industrial and housing sites can be redeveloped to become mixed-use urban villages with a variety of housing types. Changes to minimum parking standards and lot coverage can energize the infusion of missing middle housing to create opportunities for multi-generational living, cohousing and home sharing with renters. But the real difference in addressing the homelessness and affordability crisis is the renewed investment into affordable housing through partnerships of federal, provincial and municipal governments with non-profit organizations. We need to grow this segment of the housing market and to make sure that it is an integral part of our urban neighbourhoods through the design process. Q: What role do you think schools of architecture and design have in tackling the housing crisis in Canada?  A: We need to make a major commitment to building knowledge and capacity that focuses on solutions to the housing crisis in our curriculum. Design thinking is premised on innovation; it is part of the competency, creativity and collaboration that we try to instill in future professionals. Architects today are absent from the design of neighbourhoods on the periphery of our cities. We need to bring back that creativity and the knowledge of architects, planners, and designers, and develop the prototypes that will provide solutions to the housing crisis.     SAPL is moving downtown so that we can be a part of downtown rebuilding and innovation. Our adaptive reuse of existing office space in Calgary’s downtown will provide opportunities to connect to local businesses and residents and offer immersion in city life that is critical for our students. Our school will be a living urban design lab, where we embrace social justice, community-inspired design work and collaborate with different communities of practice to demonstrate viable solutions for changing cities and changing societies.   Sara Stevens Associate Professor & Chair – Urban Design at the School of Architecture & Landscape Architecture (SALA), University of British Columbia Sara Stevens is an architectural historian and Associate Professor at the University of British Columbia in Vancouver. Her book Developing Expertise (Yale University Press, 2016) studies real estate development in 20th-century American cities. She is a member of the collective Architects Against Housing Alienation, curators of the Canada Pavilion at the 2023 Venice Architecture Biennale. Q:  Major cities across Canada are seeing unprecedented housing issues (affordability issues and homelessness). As an educator, what have you seen in research or studio projects that tackle these issues?  A: There are so many great examples of design studios in Canada that are looking at housing challenges, such as the ‘Not for Sale’ study abroad course on contemporary housing that recently won the ACSA’s 2024 Architectural Education Award. McGill has a long history of housing research with the Minimum Cost Housing Group, which was the subject of a recent exhibition curated by Ipek Türeli. The work of Shawn Bailey and Lancelot Coar at the University of Manitoba is bringing really innovative pedagogy to the question of housing for Indigenous communities to design schools.  Q: Any examples of collaboration between studio projects and practicing professionals in tackling the housing crisis?  A: At UBC, questions around missing middle housing brought forth a collaboration between Haeccity Studio Architects and UBC students that resulted in a publication of the students’ work, co-sponsored by SALA and the Urbanarium, an organization in Vancouver that is a forum for sharing ideas about city building, particularly around climate change and housing affordability. The Urbananium’s design competitions have focused on missing middle housing, mixed-use neighbourhoods, and the codes and regulations that are barriers to housing affordability. Their current competition, Decoding Timber Towers, is focused on prefab and mass timber housing.  Q: What policies do you feel cities in Canada should create or address to aid in the housing crisis and homelessness?  A: I think that Canada needs to take UNDRIP and the TRC Calls to Action seriously. We can’t separate the issue of housing for Indigenous people, and the history of colonization that it’s part of, from the housing challenges everyone else faces. The United Nations Housing as a Human Right work is a great resource on this, as their work also points to the problems of financialization and the effect this has had on renters, social housing, and un-housed folks.  The Land Back Courtyard was part of the Not For Sale exhibition at the Canada Pavilion in the 2023 Venice Architecture Biennale. Photo by Maris Mezulis Q: What role do you think schools of architecture and design have in tackling the housing crisis in Canada? A: Schools of architecture and design can play an important role by educating students about the role of architects in the housing crisis in Canada. We need the next generation of architects to understand that they have a part to play. It’s not an issue that can be solved through policy and the market alone: their expertise in design, which of course touches policy and works with the private sector, is inherently part of this issue.     To develop deeper conversations around this, I am working with collaborators in the collective Architects Against Housing Alienation to organize a super-studio across Canada for the next school year (25-26) called “End Housing Alienation Now!” that is inviting all schools of architecture to run studios on a shared set of themes and principles. (This builds off of the exhibition and campaign we did for the 2023 Venice Architecture Biennale, which the teaching award I mentioned is also related to.) We have commitments from almost all the schools already, and have hosted a number of conversations with people from the schools to develop how this will work, balancing what is shared vs. independent, the different schedules and levels of students, etc.      For these studios, one ambition is that the studios work with local activists, advocates, and professional practices to show students how important these kinds of collaborations can be, and how important embedded local knowledge is. We hope to share resources and create opportunities for students to connect across geographies to ensure that many, many people with lots of passion and expertise are focused on this topic.     As appeared in the June 2025 issue of Canadian Architect magazine  The post AIA Canada Journal: Canadian educators on housing affordability appeared first on Canadian Architect.

The Photography Seoul Museum of Art (PhotoSeMA) officially opened its doors in May 2025, marking a significant milestone as South Korea’s first public institution solely dedicated to the art of photography. Situated in the Dobong District of northeastern Seoul, this architectural marvel is the result of a collaboration between Austrian firm Jadric Architektur and Korean studio 1990uao Architects. The museum’s dynamic, twisting facade not only serves as a visual landmark but also symbolizes the fluidity and transformative nature of photography itself. Spanning six levels, four above ground and two below, the museum encompasses a total area of 7,048 square meters. Its design emphasizes the interplay between light and space, with broad concrete surfaces and filtered lighting creating an environment conducive to introspection and artistic appreciation. Designers: Jadric Architektur and 1990uao Architects Interior spaces are thoughtfully punctuated by voids and light wells, allowing natural light to shape the visitor experience throughout the day. The building’s exterior features a twisting monolithic shape that integrates seamlessly with the surrounding public space, inviting visitors to engage with the museum both inside and out. This design choice reflects the architects’ intention to create a “walk-in object” that fosters community interaction and cultural engagement. PhotoSeMA’s opening is marked by two inaugural exhibitions that delve into the history and evolution of Korean photography. The Radiance: Beginnings of Korean Art Photography showcases seminal works by artists such as Jung Haechang, Lim Suk Je, Lee Hyungrok, Cho Hyundu, and Park Youngsook. Drawing from a collection of over 20,000 works and archival materials dating from the 1920s to the 1990s, the exhibition offers a comprehensive look at the medium’s development in Korea. Meanwhile, Storage Story features contemporary artists Dongsin Seo, Won Seoung Won, Jihyun Jung, Joo Yongseong, Melmel Chung, and Oh Jooyoung. This exhibition explores the museum itself as a subject, examining themes of classification, memory, and the evolving role of cultural institutions in society. As part of the Seoul Museum of Art (SeMA) network, PhotoSeMA extends the institution’s reach and reinforces its commitment to diverse artistic expressions. The museum not only provides a dedicated space for photographic art but also contributes to the cultural revitalization of the Dobong District, aligning with the city’s broader efforts to establish a “cultural mile” in the area. With its innovative design and focused curatorial approach, the Photography Seoul Museum of Art stands as a testament to the dynamic intersection of architecture and photography, offering visitors a unique space to explore and appreciate the visual narratives that shape our world. The post South Korea’s first public museum for photography now open first appeared on Yanko Design.

Michalina Janoszanka, “Motyl (Butterfly)” (ca. 1920s). Image courtesy of Public Domain Review June 2025 Opportunities: Open Calls, Residencies, and Grants for Artists May 30, 2025 Opportunities Colossal Every month, we share opportunities for artists and designers, including open calls, grants, fellowships, and residencies. Make sure you never miss out by joining our monthly Opportunities Newsletter. Innovate Grant awards two $1,800 grants each quarter to one visual artist and one photographer. In addition, twelve applicants will receive honorable mentions, be featured on the website, and join a growing community. International artists and photographers working in any medium are eligible.Deadline: 11:59 p.m. PST on June 26, 2025.Open Calls Artadia Awards (San Francisco Bay area) Artists receive unrestricted funds of $15,000, and honoraria will also be provided to finalists.Deadline: June 1, 2025.Artists are welcome to submit proposals for temporary, site-specific public art projects to be showcased throughout Nashville during the Artville festival weekend, September 26 to 28, 2025. Selected artists will be invited to accept a grant to bring their creative visions to life, plus the chance for a cash prize. Total cash prizes equal $10,000.Deadline: June 4, 2025.Women in Watercolor International Juried Competition (International)Deadline: June 8, 2025. The Vilcek Foundation will award six $50,000 prizes to young immigrants working in fashion curation, material innovation, makeup, hair, writing, curation, styling, design, and photography. Read more on Colossal.Deadline: June 9, 2025.Art Renewal Center Salon Competition (International)Deadline: 11:59 p.m. PST on June 12, 2025. Weather Photographer of the Year (International) Hosted by the Royal Meteorological Society, this competition showcases the world’s most striking weather and climate photographs and raises awareness about the environmental issues putting our planet at risk. Open to photographers of all ages and abilities, the contest offers a £5,000 cash prize.Deadline: June 19, 2025.AAP Magazine #49 B&W Photography Open Call (International) The contest is open to any interpretation of black-and-white photography. Winners will receive $1,000 and their winning image(s) or full portfolio published in AAP Magazine, vol. 49, There is a $35 entry fee for the first three images, plus $5 for each additional image.Deadline: June 24, 2025.Midwest Open (Illinois, Indiana, Michigan, Ohio, Wisconsin, Iowa, Kansas, Minnesota, Missouri, Nebraska, North Dakota, and South Dakota) The Midwest Open is Woman Made Gallery’s annual exhibition highlighting women and nonbinary artists living in the Midwest. All media and subject matter are eligible, and cash prizes range from $100 to $300. There is a $35 submission fee.Deadline: June 28, 2025.Makers, artists, and crafters are eligible to submit works that demonstrate technical mastery and a connection to cultural tradition through a singular, one-of-a-kind handcrafted piece. The winner will receive $25,000, and four finalists will also receive grant funding.Deadline: June 30, 2025.16th Epson International Pano Awards (International) This panoramic photography contest is open for entries and offering more than $50,000 in cash and prizes. There is an $18 entry fee.Deadline: July 21, 2025.Grants Art Fluent Evolution Grant (International) Art Fluent awards a $1,000 grant to one visual artist each cycle. The unrestricted funds may be applied toward any expense to enhance the artist’s ability to create work. There is a $35 entry fee.Deadline: June 6, 2025.Get Ready Grants provide craft artists with up to $1,000 for activities to safeguard their studios, protect their practices, and prepare for emergencies. Priority is given to applicants who have been underrepresented in the craft community, including BIPOC and folk/traditional artists.Deadline: June 10, 2025.Ian Potter Cultural Trust Emerging Artist Grants (Australia) Two funding rounds annually are open to individual artists working across disciplines who can apply for grants of up to AUD $15,000. This round funds travel or projects that commence after September 19, 2025.Deadline: June 17, 2025.Grants for Artists’ Progress (Washington State) This program offers 65 unrestricted grants of $1,500 for artists working in all disciplines across Washington State.Deadline: June 23, 2025.This $10,000 grant is designed to highlight an existing body of work by a Black trans woman visual artist. Four finalists will also receive $1,250.Deadline: July 2, 2025.Liu Shiming Art Foundation’s Artist Grants (International) Each year, the Liu Shiming Art Foundation selects up to five artists to receive a $5,000 grant. Visual artists working for at least two years (but not more than 10) are invited to apply for a grant in support of a current or new project.Deadline: August 21, 2025.Vital Impacts offers one $20,000 grant to an established environmental photographer, along with six $5,000 grants to emerging photographers from around the world. These funds are specifically earmarked for the development of documentary projects focusing on environmental stories.Deadline: September 15, 2025.The Adolf and Esther Gottlieb Emergency Grant (International) This program provides one-time financial assistance to qualified painters, printmakers, and sculptors whose needs resulted from an unforeseen catastrophic incident and who lack the resources to meet that situation. Awardees typically receive $5,000, up to $15,000.Deadline: Rolling.This fund commissions visual artists to create company projects on a rolling basis. Awardees will receive between $500 and $5,000.Deadline: Rolling.Pollock-Krasner Foundation Grant (International) The foundation welcomes applications from painters, sculptors, and artists working on paper, including printmakers. Grants are intended for one year and range up to $50,000. The artist’s circumstances determine the size of the grant, and professional exhibition history will be considered.Deadline: Rolling.Residencies, Fellowships, & More The Farm Margaret River Residency (International) This five- to eight-week residency is geared toward site-responsive projects and engagement with the land. Residents receive a $7,500 stipend, studio space, accommodations, and travel assistance.Deadline: 5 p.m. AWST on June 2, 2025.Wassaic Project 2026 Residency Program (International) Wassaic Project is accepting proposals for the 2026 summer and winter residencies. Artists receive a semi-private studio space; private room in a shared house (the Family program receives a private house); access to a wood shop, print shop, and kiln; staff support; and programming such as our visiting artist program, artist talks, studio visits, open studios, artist presentations, etc. The residency fee is $900, and fellowships are available. There is a $25 entry fee.Deadline: June 2, 2025.Headlands Center for the Art Artist-in-Residence (International) Residencies of four to ten weeks include studio space, chef-prepared meals, housing, travel, and living expenses. Artists selected for this program are at all career stages and work in all media, including drawing, painting, sculpture, photography, film, video, new media, installation, fiction and nonfiction writing, poetry, dance, music, interdisciplinary, social practice, arts professions, and architecture. There is a $45 application fee.Deadline: June 2, 2025.Banff Centre Artist in Residence – Winter 2026 (International) Individual and duo visual artists at any stage of their career are eligible for this residency, which offers focus in a supportive learning environment. During five weeks, participants are encouraged to self-direct their research and time and cultivate new directions. Studio space is provided.Deadline: June 11, 2025.Prairie Ronde Artist Residency (International) These five- to six-week residencies offer a $2,000 stipend, $500 travel grant, and housing to artists interested in interacting with the former Lee Paper Company mill in Vicksburg, Michigan. There is a $25 application fee.Deadline: June 15, 2025.Stove Works Residency (International) This program invites eight residents for one to three months. Six studios are designed for artists who require significant space in their practice, while the other two are for writers, curators, and academics. There is a $30 application fee. Deadline: June 15, 2025.Women’s Studio Workshop (International) WSW is accepting applications for two programs: A studio residency open to artists working in intaglio, letterpress, papermaking, screenprinting, darkroom photography, or ceramics; and an education residency for artists interested in working with local students. Both tracks offer studio space and housing.Deadline: June 15, 2025.Artists, ecological scientists, and scholars wanting to explore connections to nature, land conservation, historic preservation, agriculture, and community building are invited to apply for this program. Studio space, accommodations, a $200 per week stipend, and more are provided.Deadline: 5 p.m. PST on June 20, 2025.Peters Valley School of Craft Residency (International) This program is open to artists working in blacksmithing, ceramics, fibers, jewelry and fine metals, wood, and printmaking. Residents spend two weeks or one month in fully equipped studios, receive a $500 or $1,000 stipend, and are offered housing. There is a $10 application fee.Deadline: July 1, 2025.Penland School of Craft (International)Deadline: July 2, 2025. The Kyoto Retreat (International) Artists, curators, and writers are eligible for this four-week retreat in Kyoto for research, exploration, and inspiration. Chosen applicants receive a round-trip flight, a private bedroom, and $800 to supplement meals and local transportation.Deadline: July 15, 2025.If you’d like to list an opportunity, please contact [email protected]. Next article

A bunch of great games made with Unity dropped in May—across genres, budgets, and styles. Here’s a quick roundup of what shipped that anyone not still lost in Blue Prince should check out.IGF Awards Huge congrats to all the IGF finalists, especially the games made with Unity that dominated the awards this year — including Consume Me, which took home three wins! Fresh off their Audience Award win at the IGF Awards, The WereCleaner team joined us on stream. Check it out:Made with Unity Steam Curator Page Once again we sent out a clarion call for Unity staff to share which of your games they've been playing this past month. Be sure to see them all on our Steam Curator Page here:Working on a game in Unity? We’d love to help you spread the word. Be sure to submit your project.Without further ado, to the best of our abilities, here’s a non-exhaustive list of games made with Unity and launched in May 2025, either into early access or full release. Add to the list by sharing any that you think we missed.ActionShotgun Cop Man, DeadToast Entertainment (May 1)Deliver At All Costs, Studio Far Out Games (May 22)Pipistrello and the Cursed Yoyo, Pocket Trap (May 28)Bullet HeavenBioprototype, Emprom Game (May 19)Broventure: The Wild Co-op, Alice Games (May 15)Tower of Babel: Survivors of Chaos, NANOO (May 19 – early access)Cards, dice, and deckbuildersMonster Train 2, Shiny Shoe (May 21)Into the Restless Ruins, Ant Workshop Ltd (May 15)Casual, rhythm, and partyAmong Us 3D, Schell Games, Innersloth (May 6)Dunk Dunk, Badgerhammer Limited (May 8)Ithya: Magic Studies, BlueTurtle (May 7)Kulebra and the Souls of Limbo, Galla (May 16)Bugtopia, Nocturnal Games (May 21)Kabuto Park, Doot, Zakku (May 28)City and colony builderPreserve, Bitmap Galaxy (May 15)MEMORIAPOLIS, 5PM Studio (April 30)Darfall, SquareNite (May 8)Worshippers of Cthulhu, Crazy Goat Games (May 22)City Tales - Medieval Era, Irregular Shapes (May 22 – early access)ComedyPick Me Pick Me, Optillusion (May 28 – early access)Experimental or surrealistENA: Dream BBQ, ENA Team (March 27)FPSBloodshed, com8com1 Software (May 22)GRIMWAR, BookWyrm (May 16)Noga, Ilan Manor (May 30)HorrorLiDAR Exploration Program, KenForest (April 2)White Knuckle, KenForest (April 17 – early access)The Boba Teashop, Mike Ten (April 21)Out of Hands, Game River (April 22)Darkwater, Targon Studios (April 22 – early access)Management and automationBlacksmith Master, Untitled Studio (May 15 – early access)Liquor Store Simulator, Tovarishch Games (May 2)Animal Spa, Sinkhole Studio, Moonlab Studio (May 13)Toy Shop Simulator, PaperPixel Games (May 16)Alien Market Simulator, Silly Sloth Studios, Kheddo Entertainment (May 25 – early access)MetroidvaniaOirbo, ImaginationOverflow (February 11 – early access)SteamDolls - Order Of Chaos, The Shady Gentlemen (February 11 – early access)Narrative and mysterydespelote, Julián Cordero, Sebastian Valbuena (May 1)Duck Detective: The Ghost of Glamping, Happy Broccoli Games (May 22)Beholder: Conductor, Alawar (April 23)PlatformerPaperKlay, WhyKev (March 27)Bionic Bay, Psychoflow Studio, Mureena Oy (April 17)Once Upon A Puppet, Flatter Than Earth (April 23)PEPPERED: an existential platformer, Mostly Games (April 7)Ninja Ming, 1 Poss Studio (April 10)Seafrog, OhMyMe Games (April 15)Puzzle adventurePup Champs, Afterburn (May 19)Strings Theory, Beautiful Bee (Console release)Kathy Rain 2: Soothsayer, Clifftop Games (May 20)Poco, Whalefall (May 20)Axona, Onat Oke (May 28)Projected Dreams, Flawberry Studio (May 29)Elroy and the Aliens, Motiviti (April 2)Leila, Ubik Studios (April 7)Tempopo, Witch Beam (April 17)BOKURA: planet, ところにょり (April 24)Amerzone - The Explorer's Legacy, Microids Studio Paris (April 24)Roguelike/liteSavara, Doryah Games (May 6)Vellum, Alvios Games (May 2)Yasha: Legends of the Demon Blade, 7QUARK (May 14)An Amazing Wizard, Tiny Goblins (May 22 – early access)Garden of Witches, Team Tapas (May 23 – early access)RPGTainted Grail: The Fall of Avalon, Questline (May 23)The Monster Breeder, Fantasy Creations (May 6)Yes, Your Grace 2: Snowfall, Brave At Night (May 8)SandboxA Webbing Journey, Fire Totem Games (May 19 – early access)Islands & Trains, Akos Makovics (May 29)SimulationThe Precinct, Fallen Tree Games Ltd (May 13)Liquor Store Simulator, Tovarishch Games (May 2)Doloc Town, RedSaw Games Studio (May 7)Tales of Seikyu, ACE Entertainment (May 21 – early access)Trash Goblin, Spilt Milk Studios Ltd (May 28)Sports and drivingThe Last Golfer, Pixel Perfect Dude (May 28)Turbo Takedown, Hanging Draw (March 3)StrategyTeenage Mutant Ninja Turtles: Tactical Takedown, Strange Scaffold (May 22)Tower Dominion, Parallel 45 Games (May 7)9 Kings, Sad Socket (May 23 – early access)SurvivalDino Path Trail, Void Pointer (May 9)Survival Machine, Grapes Pickers (May 7 – early access)Oppidum, EP Games® (April 25)That’s a wrap for May 2025. Want more Made with Unity and community news as it happens? Don’t forget to follow us on social media: Bluesky, X, Facebook, LinkedIn, Instagram, YouTube, or Twitch.