The mysterious AI gadget being created by OpenAI and former Apple design chief Jony Ive has been given the thumbs up from Laurene Powell Jobs. In a new interview published by The Financial Times, the two reminisce about Jony Ive’s time working at Apple alongside Powell Jobs’ late husband, Steve, and trying to make up for the “unintentional” harms associated with those efforts.“Many of us would say we have an uneasy relationship with technology at the moment,” Ive said, adding that working on the incoming AI device alongside OpenAI CEO Sam Altman is motivated by a sense that “humanity deserves better.” In May, Ive said his latest work is driven by owning the “unintended consequences” associated with the iPhone, alluding to smartphone-related concerns like users being addicted to screens and social media.Ive again acknowledged this, and says the collaboration with Altman has revived his optimism for technology. “If you make something new, if you innovate, there will be consequences unforeseen, and some will be wonderful and some will be harmful. While some of the less positive consequences were unintentional, I still feel responsibility. And the manifestation of that is a determination to try and be useful.”Powell Jobs, who has remained close friends with Ive since Steve Jobs passed in 2011, echoes his concerns, saying that “there are dark uses for certain types of technology,” even if it “wasn’t designed to have that result.” Powell Jobs has invested in both Ive’s LoveFrom design and io hardware startups following his departure from Apple. Ive notes that “there wouldn’t be LoveFrom” if not for her involvement. Ive’s io company is being purchased by OpenAI for almost $6.5 billion, and with her investment, Powell Jobs stands to gain if the secretive gadget proves anywhere near as successful as the iPhone. The pair gives away no extra details about the device that Ive is building with OpenAI, but Powell Jobs is expecting big things. She says she has watched “in real time how ideas go from a thought to some words, to some drawings, to some stories, and then to prototypes, and then a different type of prototype,” Powell Jobs said. “And then something that you think: I can’t imagine that getting any better. Then seeing the next version, which is even better. Just watching something brand new be manifested, it’s a wondrous thing to behold.”See More:

Next week, the former president of “Grant Theft Auto” maker Rockstar North launches his first title since leaving the Take-Two Interactive-owned video game developer and opening his own studio, Build A Rocket Boy: the AAA narrative-driven action-adventure thriller “MindsEye.” Published by IOI Partners, the team behind the “Hitman” franchise, the Unreal Engine 5-built game will debut June 10 across PlayStation 5, Xbox Series X and S, and on PC via Steam and Epic Games Store with a $59.99 price tag for the standard edition. Related Stories Set in the near-futuristic city of Redrock, “MindsEye” puts players into the role of Jacob Diaz, a former soldier haunted by fragmented memories from his mysterious MindsEye neural implant, as he uncovers a conspiracy involving rogue AI, corporate greed, an unchecked military, and a threat so sinister that it endangers the very survival of humanity. Popular on Variety But the base story isn’t the biggest draw for “MindsEye,” which includes Build A Rocket Boy’s proprietary Game Creation System, that enables players to, well, “craft anything in their minds eye.” Per the studio, “Players can craft their own experiences using all of the ‘MindsEye’ assets, creating everything from custom missions to entirely new scenarios within the game’s expansive, richly detailed world. Whether you’re designing a high-speed chase through Redrock’s bustling cityscapes or a stealth mission in its industrial outskirts, it is designed to be intuitive and easy to use, ensuring that players of all skill levels can bring their imagination to life.” Benzies’ Edinburgh-based Build A Rocket Boy has promised “fresh premium content” will rollout monthly for the game, including regular releases of new missions, challenges and game assets. While “MindsEye” is the first title from Benzies since he launched BARB after leaving Rockstar in 2016 (Benzies was the lead “Grand Theft Auto” developer across the third through fifth games in the franchise, as well as “Grand Theft Auto Online,” and was in a legal battle with parent company Take Two over unpaid royalties from 2016 until 2019), it’s just step one in the prolific producer’s plan to shake up the gaming industry. “At Build A Rocket Boy, our vision goes far beyond a single title,” Benzies told Variety. “‘MindsEye’ is the first episode and central story around which ever-expanding interconnected episodes will span. We’re already working on future episodes, which will introduce alternate realities while maintaining it’s core themes of hope, redemption, and the intrigue of civilizations past and future, drawing from the lore and multiverse concepts.” See Variety‘s full interview with Benzies below, including the inevitable comparisons that will be drawn between “MindsEye” and the aesthetic of the “GTA” franchise, and his hopes for Rockstar Games’ highly anticipated and much-delayed “GTA 6.” Where did the concept for “MindsEye” come from? I pull a lot of inspiration from the real world. Watching the actions of humans – their foibles and their virtues. Watching the advancement of technology and how we adapt, or indeed, do not adapt. We’ve been moving to an automated world for many years now, and the impact on humans, especially with recent advancements in AI, which serves as good fodder for a story and even better for a video game. I think we all have this little nagging feeling about how humans and AI will blend together in the future—will it go smoothly, or will it turn sinister? We’re fans of all different types of media, and we’ve drawn influence from cinematic visionaries like Ridley Scott, Paul Greengrass, Christopher Nolan, and J.J. Abrams, and films like “The Bourne Identity,” “Memento,” and TV series “Lost” — they’re all exploring memory, perception, and control in their own ways. So, while we nod to those influences here and there, we wanted to build something that feels fresh, grounded in today’s world, but still asking the kinds of questions that have always made this genre powerful. With your “GTA” roots, obvious comparisons are already being drawn between the style and aesthetic of that franchise and “MindsEye.” Comparisons will always be made—it’s the way human beings pigeonhole concepts. But “MindsEye” isn’t built to fit into anyone else’s box. Many games share the same core elements: cars, guns, cities, and charismatic characters, and differentiation is even tougher in today’s entertainment landscape. Streaming, social media, and on-demand binge culture have fractured attention spans, and consumer mindshare is a brutal battlefield for all IP. Our industry continues to celebrate each other’s breakthroughs, and I’m proud that our collective innovation is advancing the medium of gaming, even if our paths diverge. As an independent studio we have the freedom to break ground in experimental new ways and the challenge is balancing innovation with familiarity—too much “new” risks alienating fans, too much “same” feels stale. It’s about nailing what makes your game’s world feel alive and urgent. “MindsEye” is about consequence and connection—it’s cinematic, reactive, and meant to feel like a world you’re not just playing in, but able to create in it too. We’re excited to see what they’ve crafted with “GTA VI ,” and I can’t wait to play it as a consumer for the first time. They’re always delivering something new, unique and at a scale that very few can pull off. What does MindsEye represent in BARB’s larger vision and long-term strategy? Are you plotting this out as a multi-game franchise or your first standalone? At Build A Rocket Boy, our vision goes far beyond a single title. “MindsEye” is the first episode and central story around which ever-expanding interconnected episodes will span. We’re already working on future episodes, which will introduce alternate realities while maintaining it’s core themes of hope, redemption, and the intrigue of civilizations past and future, drawing from the lore and multiverse concepts. It’s the future of entertainment to allow active participation so players feel like they have agency and can immerse themselves in our world as they want to. We are introducing three products in one game that will revolutionize AAA-quality interactive gaming and storytelling: “MindsEye” narrative story, Play.MindsEye, and Build.MindsEye. In our tightly crafted action-noir, “MindsEye” narrative story we have rips in time accessed through portals at strategic points throughout the game – so while you play as Jacob Diaz on his personal journey, players can also explore side stories and delve deeper into the backstories of characters they encounter along the way. In this way we are delivering companion content at the same time as the anchor content, weaving a rich narrative tapestry which will continue to evolve and expand giving greater depth to characters so you understand their personality and motivations. How do digital products Play.MindsEye (formerly named Arcadia) and Build.MindsEye (formerly Everywhere) tie in to plans for “MindsEye” and what BARB wants to offer gamers? In this new era of entertainment, where streaming platforms, boom-and-bust games, and an on-demand culture dominate, we’re pushing things in a new direction—with an interface that simplifies how we consume not just games, but all forms of entertainment. Consumers are moving away from 2D browsing into fully 3D, immersive experiences. Put simply, we’re shifting from passive interaction to active participation. As with all new products, things evolve. Arcadia was originally envisioned as our creation platform, but as we continued developing “MindsEye” and building out BARB’s ecosystem, it naturally grew into something more focused— Play.MindsEye and Build.MindsEye. Play delivers cinematic, high-intensity gameplay with missions and maps that constantly evolve. Build gives players intuitive tools to create their own content—no technical skills required, just imagination and intent. For BARB to fully realize our vision, we had to beta test our creation system with a community of builders in real-time and started with Everywhere while we were in stealth mode developing MindsEye. How did you settle on IOI as publishing partner? We’ve always found the way IOI handled the “Hitman” franchise interesting. They are one of the few publishers that have taken their single-player IP and increased their player count and amplified their community culture over time. From a technology point of view, their one executable approach for all of their content is very smart, and we always planned to have a similar approach, which encouraged us to join forces. This interview has been edited and condensed.

All images © Shane Drinkwater, shared with permission Enigmatic Phenomena and Galactic Shapes Revolve in Shane Drinkwater’s Cosmic Systems June 2, 2025 Art Kate Mothes For Queensland-based artist Shane Drinkwater, self-imposed restrictions provide a key starting point for works he creates in ink, pen, acrylic, and collage—always in a square format measuring about 50 by 50 centimeters. Arrows, crosses, dots, and numbers build linear elements and patterns, while primary colors provide the foundation for the occasional green or gradient. Drawing on a lifelong love for maps, ciphers, and astronomical charts, Drinkwater continues to explore the possibilities of fictional cosmic networks (previously). In some pieces, concentric circles resemble diagrams of the Solar System, while in others, references to comets or esoteric systems suggest the imaginary workings of atomic phenomena or alchemical experiments. Drinkwater’s work was recently included in the book Elements: Chaos, Order and the Five Elemental Forces, published by Thames & Hudson. He is currently preparing work for art fairs this fall in Copenhagen and Paris, along with a group show at Gagné Contemporary in Toronto. Find more on the artist’s website and Instagram. Next article

Scholars of gender and sexuality have been exploring ‘queer spaces’ for over six decades. While for many years homes and domesticity remained out of focus or at the margins of queer space research, a recent ‘domestic turn’ has brought queer people’s homes to the foreground. Queer Spaces (2022), a recollection of case studies of queer domestic spaces edited by Joshua Mardell and Adam Nathaniel Furman, is just one significant work within the recent shift to explore the intersection of queer identities and domesticity, for example. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival Over the past four years I have documented the homes of LGBTQ+ people and come to understand how they inhabit them through interviews, detailed spatial drawings and the creation of dollhouses. This methodology deliberately subverts traditional architectural model-making conventions, emphasising narrative over spatial clarity, interior qualities over façades, and incorporating elaborate details that standard architectural models typically avoid. While this may feel like a rather unusual pursuit for an architect, it’s also one I feel is necessary and urgent. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival My current research builds upon years of professional practice in London and scrutinises the limitations of standardised design approaches. Through interviews and detailed spatial surveys, I am examining how queer families navigate living spaces designed according to the London Plan’s Housing Design Guide.Advertisement Early findings from my field work show a chasm between the queer daily lives of some of London’s LGBTQ+ families and the rigid homes the standard produces. In cases where spatial flexibility is available within domestic architecture, wonderful, innovative, caring and radical uses of domestic space emerge, enabling queer forms of raising children or coexisting with current and former lovers. These are not just joyful nice-to-haves, but essential for my participants to live their queerness at home, in full. Homes should not just be where queer folk feel safe; they must also be spaces where our queerness flourishes. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The housing emergency in the UK and most of the Western world has urged architects, planners and developers to focus on an increased delivery of ‘units of housing’. Perhaps unsurprisingly, my early findings suggest that this sense of urgency risks under-delivering on quality and space. Housing standards have codified aesthetic, functional, and spatial homogeneity. They reproduce conservative ideals of housing and family at a time when families are growing more and more diverse. All the while, with the expansion of permitted development rights, they are failing to deliver an overall improvement in size and quality of the UK’s housing stock. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The need for an alternative, open-ended and, perhaps, queer toolkit to design homes – one that expands the ethical and aesthetic horizons of housing design – has never been more urgent. I am therefore also working on developing my ‘disobedient dollhouse making’ as a design tool. One that puts future users at the centre, allowing them to fabulate a different horizon for housing design. My aim is to use dollhouses as a ‘serious’ design game that enables participants to explore the true possibilities of housing beyond the ‘straightjacket’ of the standard. Follow Daniel Ovalle Costal’s research at @QueerDomCanon on Instagram 2025-06-03 Fran Williams comment and share

Submitted by WA Contents Seriema House is shaped around massive, black Portuguese stones for contemplation in Brazil Brazil Architecture News - Jun 03, 2025 - 04:23   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Brazilian architecture practice TETRO Architecture has built a house that is shaped around massive, black Portuguese stones for for reading, contemplation, rest, and sharing moments with friends in Brumadinho - Minas Gerais, Brazil. Named Seriema House, the 350-square-metre house is nestled in a tranquil setting on the outskirts of Belo Horizonte. Seriema House won the WA Awards 50th Cycle in the Architecture/Realised category.To reach it, visitors must traverse a mountain range, marking a transition from the bustling city to a peaceful environment. This journey allows guests to leave behind the urban noise and immerse themselves in nature."The client's requirement was to create a place for pause—a space for reading, contemplation, rest, and sharing moments with friends," said TETRO Architecture. "The client desired an environment that fosters meeting and introspection, where architecture would engage in a dialogue with poetry," the firm added.The location of the house presents two contrasting views. On one side, there is a broad and open view of the mountains; on the other, a dense forest filled with trees. The house is beautifully integrated into this balance of expansive landscape and shaded refuge. Seriemas, local birds known to the region, roam freely around the property and inspired the name of the residence.The conceptual foundation of the project focuses on the harmonious integration of architecture with nature. The house is designed as a transitional space that bridges the vast mountain views with the contemplative atmosphere of the forest. The architecture embodies a sense of poetry through its form, particularly highlighted by a winding wall that both separates and connects different spatial experiences.The main structure of the house is constructed from reinforced concrete, utilizing black Portuguese stones and white stone flooring as the primary materials. A winding wall divides the space and is adorned with the black stones, creating a striking visual and tactile contrast against the white stone floor. This use of natural stone emphasizes the house's connection to the surrounding landscape, showcasing its organic integration with the environment and highlighting its poetic essence.The house is masterfully organized into two distinct zones, elegantly separated by a sweeping, curving wall. On one side lies the welcoming space, a vibrant and open environment bursting with energy. Here, sounds of laughter, music, and movement fill the air, accompanied by breathtaking panoramic views of the majestic mountains. This area encompasses an integrated living room, dining room, and kitchen, all meticulously designed to foster social interaction and encourage deep contemplation of the stunning landscape.Conversely, on the other side resides the retreat—an intimate sanctuary that is serene, shaded, and profoundly introspective. This tranquil space gazes out onto the lush, dense forest, serving as a haven for relaxation and reading, and featuring the exquisite main suite. The thoughtful spatial planning creates a harmonious balance between openness and intimacy, beautifully reflecting the duality of the surrounding nature and the human experience within it.Conceptual floor planTetro is an architecture studio located in Belo Horizonte, Brazil, and operates on a global scale. It is composed of architects Carlos Maia, Débora Mendes, and Igor Macedo. The firm’s approach to professional practice focuses on a thorough examination of the site’s conditions and the client's needs, striving to create unique and irreplicable solutions for each project.TETRO Architecture previously won the WA Awards 10+5+X with Café House and Casa Açucena in Brazil.Project factsProject name: Seriema HouseArchitects: TETRO ArchitectureLocation: Brumadinho - Minas Gerais, Brazil. Lead architects: Carlos Maia, Debora Mendes, and Igor MacedoContributors: Bruno Bontempo, Bianca Carvalho, Bruna Maciel, Carolina Amaral, Saulo Saraiva, Sabrina FreitasCompletion year: 2024Structure: Cálculo ConcretoHydraulic; Electric: CA engenhariaLighting Design: IluminarConstruction: TechnoAll images © Luisa Lage.Drawing © TETRO Architecture.> via TETRO Architecture

It’s time to share your vision with the world: Applications are now open to get your work featured in Architizer’s new print publication, How to Visualize Architecture! This stunning new book will highlight how architects, designers and creative thinkers shape culture, influence clients and envision what architecture can be through powerful concepts, ideas and imagery. The only way to apply for your work to be showcased in this landmark publication is to enter your work in the 2025 Vision Awards before the Main Entry Deadline on June 6th, 2025. Apply for Publication Every Vision Awards Winner will have their work published in this instructional guide, which will lift the curtain on creative processes in architecture, from early sketches and conceptual drawings, to renderings and physical models, to powerful photographs of finished projects. Don’t miss your chance to secure a spot in How to Visualize Architecture and a host of other prizes for your work! Let Your Work Lead the Conversation How to Visualize Architecture will serve as a global reference for clients, collaborators and the next generation of architects. Thematic chapters will explore key concepts that are critical to communication of architectural ideas, including: Narrative: How to craft compelling visual stories that communicate architectural vision, from concept to construction. Environment: How to root projects within their landscape, city or climate, building a powerful sense of place. Atmosphere: How to evoke emotion and spark intrigue in architecture through a variety of creative techniques. Identity: How to imbue architecture with the cultural and social meaning within a distinct, localized context. Tectonics: How to celebrate structure, materiality and craft, translating abstract ideas into physical manifestations. With so much design content living online, being published in a high-quality print anthology gives your work a lasting, tangible presence. This publication will be distributed to a global network of design professionals, making it a timeless showcase of the visionaries defining architecture today. Start My Entry Create a Lasting Legacy for Your Vision Your work is already inspiring. Winning a Vision Award and getting published in How to Visualize Architecture promises to transform it into an educational precedent for decades to come. For every emerging architect, client, student and creative professional that picks up a copy, your work will be presented as an exemplar for architectural ideation and representation — today and tomorrow. To get yourself in the running for inclusion, start your entry for this year’s Vision Awards today, and make 2025 the year your work is celebrated — both online and in print. Apply for Publication To find out more about the Vision Awards, check out our handy About pages, including FAQs, fees and deadlines, and eligibility and guidelines. If you have any questions about the program, please don’t hesitate to reach out to us at visionawards@architizer.com. The post Apply for Publication in Architizer’s New Book “How to Visualize Architecture”! appeared first on Journal.

By Peter D. Geldart (Petra Books, 2025) The post-WWII years brought a need to house returned veterans and their new families, along with an excitement about new types and forms of housing. Working in the spirit of the age, 35-year-old Ottawa architect James Strutt in 1959 worked with six clients on round houses—a set of designs intended to reduce building costs by using materials most efficiently, while creating modernist, open-plan spaces.  The designs, inspired by the work of Buckminster Fuller and Frank Lloyd Wright, were for single-floor structures in which a curve of rooms and an open living-dining area surround a central hexagonal service core built of concrete block. The whole is topped by a geometrically complex roof, shaped using tongue-and-groove Western Red Cedar to create a hyperbolic paraboloid, or saddle-like shape. Strutt’s own family home of 1956, built according a similar scheme over six weeks for less than $1,800, survives in the Gatineau Hills, near Ottawa, and is being rehabilitated by the National Capital Commission. Author Peter D. Geldart’s family were the original residents of a Strutt-designed round house. Geldart, who has a background in architecture, gives a thorough overview of the architectural drawings of the six round houses using Strutt’s original hand-drawn materials, now held at the National Archives of Canada. These show variations on the theme, with schemes varying from 1,400 to 2,000 square feet, and extra wings swapped out for carports.  By publishing this material, Geldart hopes to contribute to a contemporary revival of Strutt’s ideas. “Is the concept of a ‘low-cost house of 1,000 sq. ft.’ viable in the 21st century?” he asks. “While the house was built to the standards of the day, it can now be built using modern materials and techniques.”  As appeared in the June 2025 issue of Canadian Architect magazine  The post Book Review: The Round Houses of 1959 Designed by Architect James Strutt appeared first on Canadian Architect.

Facepalm: In the latest example of why we shouldn't blindly put our faith in online map services, German autobahns and highways were plunged into chaos when Google Maps incorrectly showed that vast sections of the roads were closed. The incident's timing was especially bad as it coincided with the start of a holiday break. German motorists likely felt disheartened at the sight of all the stop signs on Google Maps on Thursday. The Guardian reports that major roads in western, northern, south-western and central parts of the country were shown as closed. Even parts of Belgium and the Netherlands appeared to have ground to a halt. The situation was exacerbated by the incident taking place at the start of a four-day break for the Ascension holiday, when many Germans were travelling. It led to a huge number of Google Maps users heading for alternative routes to avoid the non-existent closures. Somewhat ironically, this caused huge jams and delays on these smaller roads. Drivers not relying on Google Maps – and any Google users who decided to check another service or the news – didn't have to deal with these problems. Apple Maps, Waze, and the traffic reports all showed that everything was moving freely. The major highways were likely quieter than usual as so many Google Maps users were avoiding them. The apparent mass closure of so many roads caused panic among those who believed Google Maps' warning. Some thought there had been a terrorist attack or state-sponsored hack, while others speculated about a natural disaster. // Related Stories When asked about the glitch, which lasted around two hours, Google said the company wouldn't comment on the specific case. It added that Google Maps draws information from three key sources: individual users, public sources such as transportation authorities, and a mix of third-party providers. Ars Technica contacted Google to ask about the cause of the problem. A spokesperson said the company "investigated a technical issue that temporarily showed inaccurate road closures on the map" and has "since removed them." With Google Maps drawing information from third parties, the issue could partly have been related to the German Automobile Club's warning that there may be heavy traffic at the start of the holiday. Google also added AI features to Maps recently, and we all know how reliable they can be. There have been plenty of other incidents in which Google Maps got things very wrong. Germany was cursing the service again earlier this month when it showed highway tunnels being closed in part of the country when they were open. In 2023, Google was sued by the family of a North Carolina man who drove his car off a collapsed bridge as he followed directions given by Google Maps. The case is ongoing. Masthead: Bhavik Nasit

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.