Hey all! I decided to create a short cinematic using the Quixel Derelict Corridor environment. I removed all the existing lights and used a spotlight as my main light source. I used Lumen, volumetric fog and niagara par…

Browning Industrial Park / MULTIPLE Architecture & UrbanismSave this picture!© Bruno Dias Ventura Architects: MULTIPLE Architecture & Urbanism Area Area of this architecture project Area:  15562 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Bruno Dias Ventura Manufacturers Brands with products used in this architecture project Manufacturers:  Joris Ide, Ozklux, VMZINC, ZumtobelMore SpecsLess Specs Save this picture! Text description provided by the architects. The Browning Park project emerged from a strong ambition: to transform a derelict industrial site - once home to Herstal's weapons industry - into a vibrant green lung at the heart of the city. Over time, the site had become a sealed and fragmented grey zone, disconnected from its surrounding neighborhoods. The project was driven by a desire to reverse this fragmentation by creating a continuous pedestrian path, reopening the site, and reconnecting it with its urban context. This central promenade became the backbone of the design, around which inclusive and fully accessible public spaces were thoughtfully arranged.Save this picture!Save this picture!Save this picture!One of the most significant challenges stemmed from the condition of the site itself. Decades of industrial activity had left behind polluted soils and substantial infrastructural remnants. A deep soil remediation process - reaching depths of up to 12 meters - was required before any development could begin. This necessary intervention also offered the opportunity to reshape the topography and increase permeable surfaces, thus improving rainwater infiltration and boosting the site's resilience to climate change. Another key challenge involved balancing heritage preservation with new uses. The former Browning factory, for instance, had to be partially dismantled, structurally reinforced, and reimagined, while retaining its historical identity.Save this picture!In terms of construction, the project focused on reusing existing structures wherever possible. The factory's original metal frame was preserved and strengthened, and a new timber roof was added to create a covered public hall. Adjacent to it, the garden integrates remnants of the steel framework, which now supports wild vegetation and forms a robust, weather-resistant landscape feature. These gestures embody the project's commitment to circularity and a low environmental footprint.Save this picture!Save this picture!Save this picture!Save this picture!The spatial layout of the park was carefully designed to accommodate a wide variety of users and age groups. Along the main pedestrian spine, a sequence of diverse atmospheres and uses unfolds: a skatepark, a playground, picnic areas, outdoor fitness zones, a square with a fountain, a woodland area, and a flower garden. All these features are barrier-free and fully accessible.Save this picture!The project was developed in close dialogue with the people of Herstal and future park users. A series of public consultations and co-creation workshops were held throughout the design process, ensuring the park would reflect local needs and aspirations. The involvement of municipal services, which will oversee the long-term maintenance of the park, the hall, and the intergenerational house, was also crucial to ensuring the project's durability and success.Save this picture! Project gallerySee allShow less Project locationAddress:Herstal, BelgiumLocation to be used only as a reference. It could indicate city/country but not exact address.About this office MaterialSteelMaterials and TagsPublished on June 05, 2025Cite: "Browning Industrial Park / MULTIPLE Architecture & Urbanism" 05 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030623/browning-industrial-park-multiple-architecture-and-urbanism&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

No Mow May encourages homeowners to stash the lawn mower each spring and let flowers and grass grow for pollinators and water retention. And if your neighbor’s lawn already looks like a wildflower field most of the time, it could be more intentional than passersby might assume.The movement has expanded to “Let It Bloom June” and the fall version: “Leave the leaves.” Conservation and horticulture groups say year-round low-mowing while selectively leaving native plants to grow can save huge amounts of drinking water and lead to lasting and impactful ecological changes.When Amanda Beltramini Healan moved into her Nashville ranch house in 2016, the yard had been manicured for sale: a walnut tree, roses from a home improvement store and short grass. So she experimented, first with a 10-by-10-foot patch where she dug up the grass and sowed native seeds. Then she planted goldenrods in the culvert near the street, and let more of her yard grow tall without mowing.Local authorities apparently didn’t appreciate her natural look: “I got a letter from the city saying that I had to mow it,” she said.But then, a friend told her about No Mow Month signs, provided by the Cumberland River Compact, a local water conservation nonprofit. Soon she was signaling to the city that she’s no derelict, but a participant in an international movement.These days, every month is No Mow May in parts of her property. While she keeps the growth shorter near the culvert and street, her backyard is filled with native grasses and plants up to her knees or waist. There’s a decomposing tree trunk where scores of skinks and bugs live, birds nest under her carport and she regularly finds fawns sleeping in the safety of the high grasses.“I have a lot of insects and bugs and that’s protein, so the birds and the bird’s nests are everywhere. Cardinals and wrens and cowbirds and robins,” she said. “I wake up to them, especially during spring migration right now. It’s just a cacophony in the morning and in the evening, especially when the mulberries come in.”The movement is popularized by groups such as Plantlife, a conservation organization based in England.American lawns, based on English and French traditions, are increasingly seen as a wasteful monoculture that encourages an overuse of pesticides, fertilizer and water. Outdoor spraying and irrigation account for over 30% of a U.S. household’s total water consumption, and can be twice that in drier climates, according to the EPA.Some criticize No Mow campaigns as a fad that could invite invasive plants to spread unchecked without helping pollinators much, if only done for a month.A guide outlining No Mow pros, cons and limitations, written by consumer horticulture extension specialist Aaron Steil at Iowa State University, says reducing mowing to every two weeks and replacing turf with plants that pollinate all year long can offer more benefits without risking a citation or complaints.The No Mow effort does encourage people to think more about biodiversity in their yards, and many local nature organizations advise provide guidance on picking noninvasive plants that fit each region’s climate and precipitation levels.Reducing mowing encourages longer-rooted native grasses and flowers to grow, which breaks up compacted soil and improves drainage, “meaning that when it rains, more water is going to be captured and stored in lawns versus being generated as a runoff and entering into our stormwater system,” said Jason Sprouls, urban waters program manager for the Cumberland River Compact.Beltramini Healan isn’t just letting just anything grow — she learned which plants are invasive, non-native or not beneficial to the ecosystem and carefully prunes and weeds so the keepers have room to thrive.Nashville homeowner Brandon Griffith said he was just tired of mowing when he decided years ago wait and see what comes up. Then he consciously added flowering plants to attract bees and bugs. Now he sees so many insects and pollinators all over his garden that the neighbors’ kids come over to look for butterflies.It’s about giving them the time “to come out of their larva or their egg stage and be able to grow,” said Griffith. He said he’s never heard a complaint — in fact, some of his neighbors also stopped mowing for a month each spring. His four-year-old son catches lizards, digs for worms and hunts for bugs in the yard.“I just enjoy coming out and walking around,” said Griffith. “And looking at it, it’s kind of peaceful. It’s kinda relaxing.”__This story has been updated to correct the spelling of Amanda Beltramini Healan’s name and to correct that Aaron Steil works at Iowa State University, not the University of Iowa. —Kristin M. Hall, Associated Press

JointForcer: Final Assault 3.2 – DUPLEX adds space battles, capital ships, and real-terrain maps to this free tactical air/naval combat game. Fly over 50 aircraft, command drones, and build missions with full control. New features include strategic ramming, improved physics, massive warships, and true 3D warfare. Play solo or multiplayer – all free. Posted by karolgrodecki on May 18th, 2025 JOINTFORCER: FINAL ASSAULT 3.2 DUPLEX EDITION – OFFICIAL PRESENTATION 1. What Is JOINTFORCER? Welcome to JointForcer: Final Assault 3.2 DUPLEX, an air & naval combat game blending arcade action, tactical planning, and strategic execution. You can play solo or multiplayer, with full mission customization. MULTI/SINGLE PLAYER ARCADE SHOOTER + AIR NAVAL SPACE COMBAT SIM + MISSION SANDBOX If you can't imagine what that means—think of an action RPG, but with airplanes, helicopters, and experimental aircraft. Choose your main weapon, two special abilities (missile pods 1 & 2), radar (like skill range), armor, and structure (self-explanatory). Then jump into a team-based dogfight deathmatch with players or highly customizable AI. From light and agile fighters to heavy bombers with powerful weapons, all the way up to capital vessels capable of spawning their own fleet. 🚨 It’s completely FREE! 🚨 -> DOWNLOAD <- With the latest Titan Mangusta (DUPLEX 3.2) patch – we’re taking the fight into space. Yes, you heard that right: space battles are now part of the experience. For those who prefer more realistic setup, there new desert missions, and something special: maps based on REAL geographical data. There is mini world map, map of United Kingdom, Europe, also Black Sea with Ukraine and Persian Gulf / Middle East maps. 2. Capital Ships – New Gameplay Tier Each faction now has access to a new class of capital ships: REBELS: Heavy Airships EAST: DD-Class Destroyers WEST: BC-Class Battlecruiser These colossal machines are easy targets, but incredibly resilient. They introduce a new kind of gameplay: Strong hull, but easy to hit Capable of dealing massive firepower Great for base assault/defense or command center missions Can RAM smaller ships :))) 3. Aircraft Collision Rework – Smarter Physics Previously, two aircraft crashing into each other in space would cause both to explode. Now: Damage is based on opponent’s hull strength. Small fighters will no longer explode capital ships Large vessels can now strategically ram opponents in close combat Encourages a new level of tactical creativity 4. New Terrain-Based Maps – Earth Gets Real We’re introducing a new map system using real-world geographical data. 🗺️ Maps include: MiniWorld (Europe-centric scaled terrain) Persian Gulf [This is height-map used to create Persian Gulf region. From left upper corner you can recognize characteristic 'shoe' - Italy, then going to centre you will see Middle East region and Suez Canal. ] Suez Canal Other large-scale coastal zones North Poland (including Russian Enclave) Features: No roads or infrastructure — pure terrain and water Ideal for sniping/hunting (large maps) Intense dogfighting (small maps) [this real-map project will be developed further with better quality and more real regions - feel free to suggest your picks!] 5. Over 50 Aircraft to Command We’ve packed the game with a huge selection of aerial machines: Fighters: F-16, F-18, EuroFighter, MiG-29, Su-33, Attack planes: SU-25, A-10 Tank Killer Multirole: SU-30, SU-33 Bombers: 🚨 New: SU-24, B-1B for the WEST [in-game codename Strategic Bomber SB-1 OPPENHEIMER] Frigates, Nuclear bombers, Capital Ships. Multiple 'what-if' experimental vessels, like DD Chrushtchev - EAST Destroyer. Finally you can use space vessels in their 'true' environment and take them into space batlle 6. Reskins, Improvements, & Bug Fixes Visual improvements on several models New effects for capital ship exhaust and heat Bug where drones spawned directly into the host vessel: FIXED Now spawn from rear sections of airships for safe deployment 7. Space Combat Expanded We’ve added multiple space maps, including: Derelict Stations Asteroid Fields Megacity Shells Combat in space is no longer flat. Up, down, left, and right lose all meaning. This is true 3D warfare – prepare for the next level. 8. Arsenal of Destruction Customize your aircraft with a deep and satisfying loadout system: Cannons, bombs, missiles (heat-seekers, dumbfire, ballistic) Radars, countermeasures, defence systems Armor mods and airframe upgrades Adjust for weight, speed, range, and role. 9. Mission Planning – Your Way You control the mission architecture: Factions (EAST / WEST / REBELS) Custom squadrons (Fighter, Bomber, Support) AI difficulty from flying target to combat aces World speed and general hull strength allow to bend rules to your like - from one shot kills to long time air&naval battles Over 25 biomes: Europe Mongolia Indo-China Middle East Oceanic + Island Zones + REALISTIC NEW MISSION MAP PACKS IN POTENTIAL CONFLICT ZONES WITH FUTURISTIC BATTLE BASES 10. Unique Features 🪂 [IMPROVED!] Ejection System Escape mid-flight Fight in escape pod of your choice 🤖 Drones & Support Fighters Light fighters spawn 1–2 UAVs Capital ships can launch up to 16 drones ⚔️ Vertical & Horizontal Combat From sea-skimming interceptors to orbit duels Battles span full vertical space 11. Strategy Meets Accessibility Whether you’re a tactician or a trigger-happy pilot: Quick-play skirmishes Full scenario missions Great for all skill levels 12. New Combat Philosophy – Especially for Rebels REBELS now fight: In open-top hovercraft Blending flesh and metal – ships are grown from biomass Believe their vessels are alive They defend the freedom of: Thought Science Speech Exploration Their strategy? Be like water: “Gutta cavat lapidem non vi, sed saepe cadendo” ("The drop hollows the stone not by force, but by falling often") Use wit, adaptability, and human skill to win. Their capital ships are like beasts. Their pilots ride on top, in suits or gas masks, feeling the air. From the skies of Earth to the void of space – they are the last free people. 🎧 Final Notes & Extras 💻 Official Links: 🛰️ Teasing Future Features/Roadmap: Naval Destroyers and landing crafts Airships Quality Flight Improvement - Adding/Implementing new animations for flight control/immersion Adding flora, grass, trees, etc, - everything has to be considered vs game size and frame rate Fly Free. Burn Bright. Download JointForcer Now.

Whether you’re heading to this year’s Biennale, planning a future visit, or simply daydreaming about Venice, this guide—contributed by Hamilton-based architect Bill Curran—offers insights and ideas for exploring the canal-crossed city. Venice is like eating an entire box of chocolate liqueurs in one go. – Truman Capote Venice is my mystical addiction and I soon will make my 26th trip there, always for about 10 days or more. I keep getting asked why, and asked by other architects to share what to do and what to see. Only Italo Calvino could have reimagined (in ‘Invisible Cities’) such a magical, unique place, a water-born gem forged from 120 islands linked by 400 bridges and beset by a crazy-quilt medieval street and canal pattern. Abstract, dancing light forms dappling off water, the distinct automobile-less quiet. La Serenissima, The Most Serene One. Most buildings along the Grand Canal were warehouses with the family home above on the piano nobile floor above, and servant apartments above that in the attics, in a sea-faring nation state of global traders and merchants like Marco Polo. Uniquely built on a foundation of 1,000-year-old wood pilings, its uneven, wonky buildings have forged a rich place in history, literature and movies: Joseph Brodsky’s Watermark, Hemingway’s Across the River and into the Trees, Don’t Look Now starring Donald Sutherland, Mann’s Death in Venice, The Comfort of Strangers with Christopher Walken, Henry James’ The Wings of the Dove and The Aspern Papers, Kate Hepburn’s ‘Summertime. Yes, yes, Ruskin’s Stones of Venice is an option, as are Merchant of Venice and Casanova. Palazzo Querini Stampalia (Venice): Photo via Wikipedia THE MODERN ARCHITECTURE OF VENICE Much of Venetian life is lived in centuries-old buildings, with a crushing post-war recession leaving it preserved in amber for decades until the mass tourists found it. Now somewhat relieved of at least the cruise ship daytrippers, it is a reasonable place again, except maybe in peak summer. The weight of history, a conservatism for preservation and post-war anti-Americanism led to architectural stagnation. So there are few new, modern buildings, mostly on the edges, and some fine interior interventions, mostly invisible. For modern architecture enthusiasts Venice is a challenge. Carlo Scarpa (Giardini, Venise) – Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license Here is what modern architects should see: Carlo Scarpa‘s Must-See Works: Go see any of Scarpa’s interventions, demonstrating his mastery of detailing, materials, joinery and his approach to blending with existing fabric. He is Italy’s organicist, their Frank Lloyd Wright, and they even worked together (on the Masieri Foundation). Negozio Olivetti: The tiny former Olivetti typewriter showroom enfronting Piazza San Marco is perhaps the most wonderful of his works. It is open now to visit as a heritage museum. ”God is in the details”; Scarpa carefully considered every detail, material and connection. Le magasin Olivetti de Carlo Scarpa (Venise). Photo via Wikipedia. This file is licensed under the Creative Commons Attribution 2.0 Generic license The Fondazione Querini Stampalia is a must see, a renovated palazzo with ground floor exhibit spaces with tidewater allowed to rise up inside in one area you bridge across. The former entrance bridge is a lovely gem of exquisite detailing, rendered obsolete by a meh renovation by Mario Botta. A MUST is to have a coffee or prosecco in Scarpa’s garden and see the craft and detail of its amazing water feature. The original palazzo rooms are a lovely semi-public library inhabited by uni students; sign up as a member on-line for free. Walk up the spiral stair. The entry gate to the UIAV Architecture School in Campo Tolentini  is an unexpected wonder. A brutalist yet crisply detailed sliding concrete and steel gate, a sculpted concrete lychgate, then an ancient doorway placed on the lawn as a basin. Main Gate of the Tolentini building headquarters of Iuav university of Venice designed by Carlo Scarpa. Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license OTHER MODERN ARCHITECTURE TO SEE: Minimalist Dave Chipperfield expanded an area of suede-like concrete columbariums on the St. Michele cemetery island. Sublime. Extra points if you can find the tomb Scarpa designed nearby. The Ponte della Costituzione (English: Constitution Bridge) is the fourth bridge over the Grand Canal in Venice, Italy. It was designed by Santiago Calatrava. (Image via: Wikipedia) Calatrava’s Ponte della Constituzione bridge is an elegant, springing gazelle over the entrance to the Grand Central. But the glass steps are slippery and are being replaced soon, and the City is suing Calatrava, oops. The barrier-free lift pod died soon after opening. It is lovely though.   Le Canal della Giudecca, la Punta della Dogana, la basilique Santa Maria della Salute de Venise et le Canal Grande à Venise (Italie). Photo via Wikipedia Tadao Ando’s Punte Della Dognana museum is large, with sublime, super-minimalist, steel and glass and velvety exposed concrete interventions, while his Palazzo Grassi Museum was more restoration. A little known fact is that Ando used Scarpa’s lovely woven basketweave metal gate design in homage. An important hidden gem is the Teatrino Grassi behind the Museum, a small but fabulous, spatially dramatic theatre that often has events, a must-see! Fondaco dei Tedeschi: At the foot of Rialto Bridge and renovated by Rem Koolhaas, this former German trading post had been transformed into a luxury shopping mall but closed last month, a financial failure. Graced with a stunning atrium and a not well know fabulous rooftop viewing terrace, its future is now uncertain. The atrium bar is by Phillipe Starck and is cool. Try it just in case. Fondaco dei Tedeschi. Photo via Wikipedia Procuratie Vecchie: This iconic 16th storey building is one of Piazza San Marco’s defining buildings, and David Chipperfield’s restoration and renovation of this building, which defines Piazza San Marco, is all about preservation with a few modern, minimalist interventions. It operates as a Biennale exhibit space. Infill housing on former industrial sites on Guidecca Island includes several interesting new developments called the Fregnans, IACP and Junghans sites (look for fine small apartments such as by Cino Zucchi that reinterpret traditional Venetian apartment language). A small site called Campo di Marte includes side-by-sides by Alvaro Siza (disappointing), Aldo Rossi and Carlo Aymonino (ho hum); some day there will be a Rafael Moneo on the empty lot.     View this post on Instagram   A post shared by Denton Corker Marshall (@dentoncorkermarshall) AT THE BIENNALE: At the Biennale grounds there is much to see, with the only recent project the Australia Pavilion by Denton Corker, a black granite box hovering along a canal. Famous buildings include the Nordic Pavilion (Sven Ferre), Venezuela Pavilion (Carlo Scarpa), Finland Pavilion (Alvar Aalto), former Ticket Booth (Carlo Scarpa), Giardino dell Sculture (Carlo Scarpa), Bookstore (James Stirling) and there are some fab modern interiors inside the old boat factory buildings. Canada’s Pavilion by the Milan firm BBPR (don’t ask why) from 1956 is awkward, weird and much loathed by artists and curators. Le pavillon des pays nordiques (Giardini, Venise). Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license. Just outside the Biennale on the Zattere waterfront is a stirring Monument to the Women Partisans of WWII, laid in the water by Augusto Maurer over a simple stepped-base designed by Scarpa. Venezia – Complesso monastico di San Giorgio Maggiore. Photo via Wikipedia,  licensed under the Creative Commons Attribution-Share Alike 4.0 International license. BEYOND THE BIENNALE The Vatican Chapels: In 2018 the Vatican decided to participate in the Biennale for the first time for some reason and commissioned ten architects to design chapels that are located in a wooded area on the Venetian island of San Giorgio Maggiore, behind Palladio’s church. The architects include Norman Foster, Eduardo Souto de Moura, and Smiljan Radic, and includes The Asplund Pavilion, like the Woodland Chapel  that inspired it. It is intended as a “place of orientation, encounter, meditation, and salutation.” The 10 chapels each symbolize one of the Ten Commandments, and offer 10 unique interpretations of the original Woodland Chapel; many are open air. These are fab and make you think! Chiese San Giorgio Maggiore was designed by Palladio and is fine. But its bell tower offers magnificent city views and avoids the long lines, crowds and costs of Piazza San Marco’s Campanile. Next to San Giorgio you should tour the Cini Foundation, with an amazing stair by Longhera, the modern Monica Lunga Library (Michele De Lucchi) and a lovely Borges-inspired labyrinth garden. Behind San Giorgio en route to the Chapels is the Museo del Vetro (Glass Museum) and the fabulous Le Stanze della Fotografia (contemporary photography gallery) featuring a Mapplethorpe retrospective this year. (If you’re visiting this year, join me in Piazza San Marco on July 7, 2025, for his ex Patti Smith’s concert.) An unknown MUST DO is a concert in the stunning Auditorium Lo Squero (Cattaruzza Millosevich), with but 200 comfy seats in an adapted boat workshop with a stage wall of glass onto the lagoon and the Venitian cityscape. La Fenice Opera House in Venice, Italy. Image via: Wikipedia La Fenice Opera House: after burning down in 1996, Aldo Rossi supervised the rebuilding, more or less ‘as it was, as it is’, the Italian heritage cop-out. There is no Rossi to see here, but it is a lovely grand hall. Book a concert with private box seats. Venice Marco Polo Airport is definitely Aldo Rossi-inspired in its language, materials and colours. The ‘Gateway Terminal’ boat bus and taxi dock is a true grand gateway (see note about Gehry having designed an unbuilt option below). Venice Marco Polo airport. Photo via Wikipedia HIDDEN GEMS Fondazione Vendova by Renzo Piano features automated displays of huge paintings by a local abstract modernist moving about a wonderful huge open warehouse and around viewers. Bizarre and fascinating. Massimo Scolari was a colleague or Rossi’s and is a brilliant, Rationalist visionary and painter, renown to those of us devotees of the Scarpa/Rossi/Scolari cult in the 1980’s. His ‘Wings’ sculpture is a large scale artwork motif from his drawings now perched on the roof of the UIAV School of Architecture, and from the 1991 Biennale. Do yourself a favour, dear reader, look up his work. Krier, Duany and the New Urbanists took note. He reminds me of the 1920s Italian Futurists. You can tour all the fine old churches you want, but only one matters to me: Santa Maria dei Miracoli, a barrel-vaulted, marble and wood-roofed confection. San Nicolo dei Mendicoli is admittedly pretty fab, and featured in ‘Don’t Look Now’.  And the Basilica of Santa Maria Assunta on Torcello has an amazing mosaic floor, very unusual stone slab window shutters (and is near Locanda Cipriani for a wonderful garden lunch, where Hemingway sat and wrote). For the Scarpiani: There is a courtroom, the Manilo Capitolo, inside the Venice Civic Tribunale building in the Rialto Market that was renovated by Scarpa, and is amazing in its detail, including furniture and furnishings. You have to pass security to get in, and wait until court ends if on. It is worth it! The Aula Mario Baratto is a large classroom in a Palazzo overlooking the Grand Canal designed by Carlo Scarpa with amazing wood details and furniture. The room has stunning frescoes also. You can book a tour through Universite Ca’ Foscari. The view at a bend in the Grand Canal is stunning, and you can see the Fondazione Masieri (Scarpa renovation) building off to the left across the side canal (see Missed Opportunities). Within the Accademia Galleries and Correr Museum are a number of small renovations, stairs and art stands designed by Scarpa. Next to the Chiesa di San Sebastino decorated by Veronese is the Scarpa entrance to a linguistics library for the Universita Ca’ Foscari. Fondation W – Wilmotte & Associés: A French architect who is not shy and presumably rather wealthy runs his own exhibition space focused on architecture; ‘…it is both a laboratory and shop window…’,  so one of those. Worth a look. There is a recent Courthouse that is sleek, long, narrow, black and compelling on the north side of Piazzalle Roma, but I have not yet wandered in.   FOOD AND DRINKS FOR ARCHITECTS Philippe Starck’s lobby bar at the Palazzina Grassi hotel is the only cool, mod bar in town. Wow! Ask the barman to see the secret Krug Room and use the PG bar’s unique selfie washroom. I love this bar: old, new, electic. Also, Starck has a house on Burano, next to the pescheria (sorry, useless ephemera). He wants you to drop by. Restaurant Algiubagiò is the only cool, modern restaurant and it has fab food. It also has a great terrace over the water. Go! Zanze XVI is a nice clean mod interior and Michelin food. Worth it. Ristorante Lineadombra: A lovely, crisp modern interior and crisp modern Venetian food. A great terrace on the water also. Local Venice is a newer, clean, crisp resto with ‘interesting’ prices. Your call. Osteria Alla Bifora, while in a traditional workshop space, is a clean open loft, adorned modernly with a lovely array of industrial and historic relics. It is a lovely bar with charcuterie and a patio on the buzzy campo for students. Great for late night. Cicchetti are Venetian tapas, a standard lunch you must try. All’ Arco near Rialto has excellent nouveau food and 50m away is the lovely old school Do Mori. Osteria Al Squero in Dorsoduro overlooks one of the last working gondola workshops, and 100m away is the great Cantino del Vino già Schiavi. Basegò has creative, nouveau cichetti. Drinks on a patio along the Grand Canal can only be had economically at Taverna al Remer, or in Campo Erberia at Nanzaria, Bancogira, Al Pesador or Osteria Al Cichetteria. Avoid any place around Rialto Bridge except these. El Sbarlefo San Pantalon has a Scarpa vibe and a hip, young crowd. There is a Banksy 50’ away. Ristorante Venissa is a short bridge from Burano to Mazzorbo island, a Michelin-starred delight set in its own vineyard.   Since restaurant design cannot tie you up here, try some fab local joints: Trattoria Anzolo Raffaele : The owner’s wife is from Montreal, which is something. A favorite! Pietra Rossa: A fab, smart place with a hidden garden run by a hip, fun young restauranteur, Andrea. Ask for the Canadian architect discount. Oste Mauro Lorenzon : An entertaining wine and charcuterie bar run by the hip young restauranteur’s larger than life father, and nearby. Mauro is a true iconoclast. Only open evenings and I dare you to hang there late. Anice Stellato: A great family run spot, especially for fish. Excellent food always. La Colonna Ristorante: A nice, neighbourhood joint hidden in a small campo. Il Paradiso Perduto: A very lively joint with good food and, rarely in Venice, music. Buzzy and fun. Busa da Lele: Great neighbourhood joint on Murano in a lovely Campo. Trattoria Da Romano: Best local joint on Burano. Starck hangs here, as did Bourdain.   Cafes: Bacaro aea Pescaria is at the corner by Campo de la Becarie. Tiny, but run by lovely guys who cater to pescaria staff. Stand outside with a prosecco and watch the market street theatre. Extra points if you come by for a late night drink. Bar ai Artisti is my second fav café, in Campo S. Barnaba facing where Kate Hepburn splashed into the canal. Real, fab pastries, great terrace in Campo too. Café at Querini Stampalia: get a free visit to Scarpa’s garden and wander it with a coffee or prosecco. Make sure to see the bookstore also (and the Scarpa exhibition hall adjacent). Carlo Scarpa à la Fondation Querini Stampalia (Venise). Photo via Wikipedia, A lesser known place is the nice café in the Biennale Office next to Hotel Monaco, called Ombra del Leone. The café in the Galleria Internationale d’Arte Moderna Ca’ Pesaro is great with a terrace on the Grand Canal.   Cocktail bars: Retro Venezia: Cool, retro vibe. The owner’s wife dated a Canadian hockey player. You must know him. Il Mercante: A fabulous cocktail bar. Go. Time Social Bar:  Another cool cocktail bar. Vero Vino: A fab wine bar where you can sit along a canal. Many good restaurants nearby! Arts Bar Venice: If you must have a cocktail with a compelling story, and are ok with a $45 pricetag. Claims Scarpa design influence, I say no. But read the cocktail stories, they are smart and are named for artists including Scarpa. Bar Longhi in in the Gritti Hotel is a classic, although cheesey to me. Hemingway liked it. It has a Grand Canal terrace. The Hilton Stucky Hotel is a fabulous former flour factory from when they built plants to look like castles, but now has a bland, soulless Hilton interior like you are in Dayton. But it has a rooftop bar and terrace with amazing sunset views! While traditional, the stunning, ornate lobby, atrium and main stair of the Hotel Danieli are a must-see. Have a drink in the lobby bar by the piano player some evening.   STAYING MODERN Palazzina Grassi is the only modern hotel in Venice, with a really lovely, unique lobby/bar/restaurant all done by Philippe Starck. At least see the fab bar! Johnny Depp’s favourite. Generator Hostel: A hip new-age ‘design-focused’ hostel well worth a look. Not like any hostel I ever patronized, no kegs on the porch. Go visit the lobby for the design. A Euro chain. DD724 is a small boutique hotel by an Italian architect with thoughtful detailing and colours, near the Peggy Guggenheim Museum (the infamous Unfinished Palazzo), and they have a small remote outpost with fabulous apartment called iQS that is lovely. The owner’s brother is the architect. My fave! Avogaria: Not just a 5 room hotel, it is ‘a concept’, which is great, right?  But very cool. An architect is one of the owners. German minimalist architect Matteo Thun’s JW Mariott Venice Resort Hotel and Spa is an expensive convent renovation on its own lagoon island that shows how blandness is yawningly close to minimalism. The Hotel Bauer Palazzo has a really lovely mid-century modern section facing Campo San Moise, but it is shrouded in construction scaffolding for now.   SHOPPING MODERN FOR ARCHITECTS It is hard to find cool modern shopping options, but here is where you can: Libreria Acqua Alta: Used books and a lovely, unexpected, fab, alt experience. You must see and wander this experience! It has cats too. Giovanna Zanella: Shoes that are absolute works of art! At least look in her window. Bancolotto N10: Stunning women’s clothing made in the women’ prison as a job skill training program. Impeccable clothes; save a moll from a life of crime. Designs188: Giorgio Nason makes fabulous glass jewellery around the corner from the Peggy Guggenheim Museum. Davide Penso: Artisan made glass jewellery on Murano. Ferrovetro Murano: Artisan made jewellery, bags, scarfs. (on Murano). Madera: All the cool designer housewares and jewellery. DECLARE: Cool, modern leathergoods in a very sweet modern shop with exquisite metal detailing. A must see! Ottica Urbani: Cool Italian eyewear and sunglasses. Paperowl: Handmade paper, products, classes. Feeling Venice: Cool design and tourist bling can be found only here. No shot glasses.   MISSED OPPORTUNITIES, MEMORIES AND B-SIDES The Masieri Foundation: Look up the tragic story of this project, a lovely, small memorial to a young architect who died in a car accident on his honeymoon en route to visit Fallingwater in 1952. Yep. His widow commissioned Frank Lloyd Wright to design a small student residence and study centre, but it was stopped by anti-American and anti-Modernism sentiments. (Models and renderings are on-line). This may be Venice’s saddest architectural loss ever. The consolation prize is a very, very lovely Scarpa interior reno. Try to get in, ring the bell (it is used as offices by the university)! (Read Troy M. Ainsworth’s thesis on the Masieri project history). Also cancelled: Lou Kahn’s Palace of Congress set for the Arsenale, Corbusier’s New Venice Hospital which would have been sitting over the Lagoon in Cannaregio near the rail viaduct, Gehry’s Venice Gateway (the airport’s ferry/water taxi dock area). Also lost was Rossi’s temporary Teatro del Mondo, a barged small theatre that tooted around Venice and was featured in a similar installation in 1988 at the R.C. Harris Water Treatment Plant. All available on-line. Teatro del Mondo di Aldo Rossi, Venezia 1980. Photo via Wikipedia, CC BY-SA 4.0 Itches to scratch: Exercise your design skills to finish the perennial favorite ‘Unfinished Palazzo’ of the Peggy Guggenheim Museum, design a new Masieri Foundation, design the 11th Vatican Chapel or infill the derelict gasometer site next to Palladio’s Chiese San Francisco della Vigna.   FURTHER AFIELD Within an hour’s drive, you can see the simply amazing Tombe Brion in San Vito Altivole and the tiny, stunning Giptotecha Canova in Possagna (both by Scarpa), the Nardini Grappa Distillery in Bassano del Grappa by Maximillio Fuksas, and a ferry and taxi will get you to Richard Meier’s Jesolo Lido Condos on the beach. A longer drive of two hours into the mountains near Cortina will bring you to Scarpa’s lovely and little known Nostra Signore di Cadora Church. It is sublime! Check out the floor! Zaha Hadid’s stunning Messner Mountain Museum floats above Cortina, accessible by cable car. The recent M-09 Museum on mainland Mestre, a quick 10 minute train ride from Venice, by Sauerbruch + Hutton is a lovely urban museum with dynamic cladding. Castelvecchio Museum. Photo via Wikipedia The Veneto region is home to many cool things, and fab train service gets you quickly to Verona (Scarpa’s Castelvecchio Museum and Banco Populare), Vicenza (Palladio’s Villa Rotonda and Basillicata). There are Palladio villas scattered about the Veneto, and you can daytrip by canal boat from Venice to them. Go stand where Hemingway was wounded in WWI near Fossalta Di Piave (there is a plaque), which led to his famous novel, ‘A Farewell to Arms’. He never got to visit Venice until 1948, then fell in love with the city, leading to ‘Across the River and into the Trees’. He also threatened to burn down FLW’s Masieri Foundation if built (and they both came from Oak Park, Illinois. So not very neighborly).   OTHER GOOD ARCHITECTURAL REFERENCES Venice Modern Architecture Map The only guidebook to Modern Architecture in Venice   These architectural guide folks do tours geared to architects: Architecture Tour Venice – Guiding Architects Venice Architecture City Guide: 15 Historical and Contemporary Attractions to Discover in Italy’s City of Canals | ArchDaily Venice architecture, what to see: buildings by Scarpa, Chipperfield and other great architects The post An Architect’s Guide to Venice and its Modern Architecture    appeared first on Canadian Architect.

A pair of long-derelict buildings on Redchurch Street in Shoreditch have been restored following a five-year conservation-led project by Chris Dyson Architects, working with structural engineers Alan Baxter Associates and contractor Fullers. One of the properties, 113 Redchurch Street, a Grade II-listed 18th-century weavers’ house, has been on Historic England’s Heritage at Risk register since 2012 and is now set to be removed following completion of the works. When the Truman Brewery bought the two properties, Alan Baxter Associates were engaged to assess the condition of the buildings. Chris Dyson Architects, based in Spitalfields and with experience in working with historic buildings in the area, was then appointed to lead the architectural restoration. …

Part antiques dealer, part architect, this Belgian maverick is an unlikely source of lessons for contemporary material reuse Marcel Raymaekers (1933–) never qualified as an architect. This did not stop him from procuring the materials for, designing and building around 150 villas across Belgium. The exact number is unknown: Belgium’s architectural establishment mostly ignored and rejected Raymaekers just as he ignored and rejected them, and as a result his work has never been collated or taken seriously. Raymaekers himself never kept records of his work; he regarded the drawing board as a ‘torture device’, preferring sketches and improvisation on site, determined by the material batches he had to hand. The extent of Raymaekers’ oeuvre is also hard to fathom because he wanted to keep it under the radar of the tax authorities. They caught up with him eventually; he was bankrupted in 2014. Today, Raymaekers is a 92‑year‑old tenant living inside what was once his personal empire, Queen of the South, in the Limburg countryside in north‑western Belgium. This compound was – and to a limited extent, still is – a vast salvage yard packed with components scavenged from aggressive postwar demolition. This puzzling place, completed in 1972 but constantly expanded, is stuffed with billowing pitched roofs, impossible archways, numerous appendages and antechambers. In its heyday – the 1970s and ’80s – Queen of the South also had a nightclub, a restaurant, a jazz venue, Raymaekers’ own ultra‑luxe apartment, and an estaminet – a plush, wood‑panelled, banquet‑seated, mirror‑pillared café‑bar. Marcel Raymaekers was born in 1933 near Leuven in Belgium. In 1950, he enrolled to study architecture at the Sint-Lukas School in Brussels but left a year later without a degree. Though not officially an architect, Raymaekers proceeded to design around 150 projects, from suburban homes to hotels and music venues – in 1986, he completed the Orlando discotheque, which burned down in 2014 Credit: Roger Dyckmans It was here that Raymaekers would sit – when he was not criss‑crossing Belgium scouting for materials – scoping out clients as they stumbled giddily into his world, overwhelmed by the aspiration and status anxiety that Queen of the South was designed to induce. The project was also a cultural hub attracting misfits and eccentrics, wheelers and dealers, experts and charlatans. The novelist Hugo Claus had his 50th birthday at Queen of the South, honouring Raymaekers in his speech. Raymaekers and his wife Hilde did interviews for newspapers, magazines and TV, often while reclining on their bed. The media was not interested in him as an accomplished architect, but as a purveyor of kitsch, an absurdity.  What Raymaekers had to sell his clients was more than simply antiques or even houses composed of them (buy enough materials and he would design you a house for no charge: that was always the deal). What Raymaekers was really selling were dreams of nobility: the life of a lord and lady of the manor, set apart (and above) from an increasingly modernised, homogenised world. Sensuality and hedonism, expressed through haptic, resplendent materials, was a big part of the allure too – the promise of a new way of life. One of Raymaekers’ bigger projects was a love hotel, Rubensexclusief, near Diest, completed in 1979. Each chamber was bestowed with an excess of padded velvet upholstery, often creeping up the walls and curving onto the ceilings. In the lobby, a salvaged confession booth was intended as a hiding place for guilty parties. Raymaekers brought several clients here to celebrate a successful transaction or to introduce them to his material language before starting design negotiations. His clients were middle‑class professionals – teachers, dentists, entrepreneurs, doctors, engineers, florists, pharmacists. Wealthy, but not extraordinarily rich. Many of his houses allowed them to live and work – interfacing with the public – on the same property. House Kelchtermans from 1970, for example, designed with architect Jos Witters, is composed of three pyramids – a home, a doctor’s office and a garage – structured with reclaimed oak beams. The roof tiles were salvaged by the client himself, Dr Kelchtermans, who received tips on where to find them from his patients, many of whom were farmers whose buildings were undergoing modernisation or demolition. Inside, it is all split‑levels, enormous fireplaces and complex, spiralling spaces. But the house’s biggest flourish is the skylights: 23 cupolas from decommissioned Lockheed T‑33 fighter jet cockpits. Raymaekers had found them languishing in a salvage yard on the other side of Flanders, saw their architectural potential and persuaded the client to buy them. Client participation was everything. The Boncher family’s house, completed in 1984, is a mash‑up of components from a derelict slaughterhouse in the city of Tienen and an army barracks in Verviers. The Bonchers themselves spent weeks carefully dismantling the bricks, Gobertange white stone and fleur‑de‑lis roof tiles from the slaughterhouse. Raymaekers had the grand entrance and guardhouses from the barracks available in his stock at Queen of the South, probably at a time‑sensitive discount. Many of the construction and final design decisions for House Boncher were left to happenstance; as the contractors built the walls up row‑by‑row, whenever a hole was needed for a window, Raymaekers would decide the dimensions only at that moment, based on whatever blue limestone window frame he happened to have in stock. Occasionally, the masons had to deconstruct part of a wall if a larger‑than‑anticipated window became available.  ‘Raymaekers’ houses are intelligent, instinctive assemblages of unpredictable material streams’ The interior, too, required improvisation. A white stone staircase, salvaged from a church pulpit, was meant to spiral up to the main bedroom of House Boncher but turned out to be about 200mm too short. The solution? Raymaekers and the contractors decided to build a hefty bump into the floor, consisting of cobbles and decorative tiling. It gave the staircase the necessary boost to reach up to the bedroom. It was typical of how designing exclusively with old materials required Raymaekers to empower and trust his contractors. Their design contributions, extemporisation and management of materials and how they might fit together were intrinsic to the realisation of every project. Working with large batches helped simplify matters – or allowed further complexity. When the Antwerp townhouse of art nouveau architect Joseph Bascourt was demolished to make way for the extension of a car park, Raymaekers snapped up the facade. Without knowing or caring how the pieces were originally composed, Raymaekers shuffled them into a new configuration for the facade of a flower shop a client had commissioned in the Brussels hinterland, completed in 1987. Raymaekers moved Bascourt’s decorative entablature from the top of the facade down to eye level, the better to be enjoyed; that this meant the windows on the top floor would now poke strangely above the roofline was fine with both Raymaekers and the client. The shreds of Raymaekers’ reputation that survive today, and what can be retrieved and reconstructed of his private and professional habits, are complex at best. His charisma and determination enabled him to convince artisans, contractors, labourers and clients to stretch themselves beyond what they thought possible, adding their own talent to his difficult buildings. But Raymaekers could also be intimidating and domineering. Collaborators often stepped away from his all‑consuming process; clients who considered him too pushy and found themselves running out of money could cease working with him. But this was not the case for his spouses, sons, grandchildren and daughters‑in‑law. They were bound to him by more than his business practice and art, and some of them suffered enduring and even unbearable distress. Their suffering is the shadow behind Raymaekers’ work. When researchers from Belgian design practice Rotor and the University of Ghent – also the authors of this article – started showing up at Queen of the South in 2011, it was not because of Raymaekers’ reputation; it was merely to include Queen of the South on Opalis’s database, a roster of salvage dealers covering much of north‑western Europe. We only realised the extent and importance of his work after several years and at least three visits. Raymaekers had refused all interviews since his bankruptcy, but after some persuasion, a meeting was scheduled in the courtyard on a grey winter day. Triggered by newspaper cuttings, his own limited archive of photographs and strolls through the stock, a picture emerged of the rich reuse ecosystem in which he was active in his glory days. It is this ecosystem, along with the remarkable and necessary fluidity of Raymaekers’ practice with old building materials, that was critical to his success. Belgium was blessed in the postwar period with a remarkably robust network of demolition contractors who were also salvage dealers, antiques dealers who were also designers, industrial scrapyards willing to let architects pick through their mountains of waste. The landscape was ripe for reuse. So was the legislative field. Raymaekers’ oeuvre could be mistaken, at a cursory glance, for just more Ugly Belgian Houses (several of them have indeed appeared on Hannes Coudenys’ infamous blog). His houses appear to be kitsch, chaotic, brazen, overstuffed with mixed metaphors. But they are much more than that. They are intelligent, instinctive assemblages of unpredictable material streams. They are bracing, never boring. And though they are wildly out‑of‑step with today’s tastes, the houses – and moreover, the kind of innovative practice that built them – have a lot to teach spatial practitioners about reusing architectural materials and circularity in the construction industry. And as with any of those so‑called ‘ugly’ Belgian houses, the label is a trivialisation (and an elitist one) of something systemic and generative. What makes possible such expressionistic and characterful suburban houses in Belgium – whatever one thinks of their quality – is government policy since the postwar era. While other European countries went all in on standardised social housing, in Belgium, the 1948 De Taeye Law offered construction grants and a state guarantee on mortgages, triggering families to initiate, help design and sometimes even execute the construction of their own homes, tapping into a rural tradition of self‑reliance. Raymaekers worked at a time when modernisation – and the demolition it demanded – was churning out a constant flow of antique materials. It was also a time when the merger and exchange of roles in the architectural process – from material procurement, to design and collaboration live on site – was still possible. Material reuse today is much harder. It must work precisely against the linear flows of extraction, capital, efficiency and predictability – all supercharged by the digital and its requirement of an almost omniscient predictability, and by increasingly demanding rules around compliance and liability. But to explore the wild potential of material reuse – not just to reduce embodied carbon, but to unleash new design potential and a richer culture around material (heritage) and practice – it must be possible to imagine ways in which material procurement, construction sites and the architects’ role can change fundamentally again.  Illustration: Laslo Antal for The Architectural Review. Read more about the process of making this portrait here 2025-05-15 Justinien Tribillon Share AR May 2025CircularityBuy Now

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