Heydar Aliyev Center | © Olivier Blanchette via Unsplash In contemporary architectural discourse, the building envelope is no longer a passive partition but a dynamic interface capable of interaction, regulation, and adaptation. Amid rising environmental complexity and performance demands, composite materials are emerging as enablers of this transformation. Their potential goes far beyond lightweight strength; composites are redefining what intelligence means in architectural materiality. As the industry pivots toward energy-conscious design, real-time responsiveness, and multi-functional skins, composites provide structural solutions and performative systems. In this context, the envelope becomes a site of intelligence. From Passive Shells to Active Systems For centuries, architectural skins served primarily as barriers, blocking weather, enclosing space, and symbolizing permanence. But the 21st century demands more. We require façades that filter air and light, mediate thermal flux, integrate sensors, and generate power. Traditional materials, limited by monolithic performance and weight, have struggled to adapt. Composites, by contrast, are inherently systemic. They are engineered layers rather than singular substances. Through the integration of fibers and matrices, composites enable architectural envelopes that perform structurally while accommodating embedded systems such as thermal insulation, acoustic control, impact resistance, and photoreactivity. These characteristics make them prime candidates for high-performance envelopes in buildings and infrastructure alike. In the Qatar Integrated Railway Project, composite roofing and FRP façade panels were employed to meet the demands of the harsh desert environment. This solution reduced structural loads and improved thermal performance while ensuring long-term durability in a climate defined by extremes. Performance Layering and Embedded Intelligence What distinguishes composites from conventional materials is their capacity to combine multiple performance layers in one unified system. Instead of applying insulation, waterproofing, and cladding in sequence, a composite panel can consolidate these into a single prefabricated, high-performance element. A compelling example is the Eco Casa in Australia, designed by Ian Wright, which used frameless DuFLEX composite panels. The result was an environmentally conscious home with significantly reduced material waste, enhanced thermal performance, and minimized emissions. These outcomes demonstrate how composites offer design efficiency and ecological responsibility. The capacity for prefabrication and integration is particularly valuable in settings where labor conditions, transportation logistics, or weather exposure make traditional multi-layered construction inefficient or impractical. Composites with a Nervous System: Sensing the Built Environment Recent innovations in smart composites extend these capabilities further. By embedding fiber-optic or piezoresistive sensors into composite assemblies, architects and engineers can develop building skins that sense stress, temperature changes, humidity, or vibration in real-time. These responsive façades can feed data into building management systems, enabling performance optimization or alerting maintenance teams to signs of wear or structural fatigue. This functionality has been successfully explored in transport infrastructure. The King Abdullah High-Speed Rail Station in Saudi Arabia used 27-meter composite sandwich panels to span vast distances with minimal support. The lightweight system reduced the need for extensive reinforcement while enabling thermal and mechanical performance in a climate that demands resilience. Such examples are foundational to a future in which architecture does not merely resist the environment but interprets it. Formal Freedom Meets Functional Responsiveness Guangzhou Opera House | © Scarbor Siu via Unsplash Beyond embedded intelligence, composites also expand formal expression. Their moldability, especially with parametric design and digital fabrication, allows for envelopes that curve, fold, and morph in unattainable ways with conventional rigid materials. The Guangzhou Opera House, designed by Zaha Hadid Architects, is a defining example. Advanced composite assemblies that merged structural demands with formal ambition enabled its seamless curvatures and sharp transitions. These systems supported high-precision details and complex geometries while reducing material weight and installation complexity. This freedom extends to smaller-scale yet equally ambitious projects. At the Tilburg School for VAVO, translucent composite panels embedded with knitted textiles reference local craft while offering thermal performance and design cohesion. Such examples show that intelligence in architecture includes cultural sensitivity as well as technical adaptability. Toward Circular and Regenerative Envelopes The sustainability potential of composites is often overlooked. While early generations relied heavily on fossil-derived materials, newer systems use bio-based resins, natural fibers like flax and basalt, and recyclable matrices that fit into circular design models. Composite panels can now be designed for disassembly, repurposing, or reintegration into new construction, minimizing waste and conserving embodied energy. The Pasarela de Almuñécar in Spain exemplifies this ethos. As the world’s longest carbon-fiber walkway, it replaced heavier materials and extended structural lifespan while reducing maintenance. The project signals how composites can fulfill both technical and ecological ambitions. Efforts to embed digital tracking into panels, such as RFID tags, also support long-term monitoring and facilitate reuse planning. This vision aligns with emerging concepts like material passports, which will play a critical role in lifecycle accountability. Pasarela de Almuñécar in Spain | © Luis Garcia, CC by 3.0 Overcoming Barriers to Adoption Despite the clear advantages, composite adoption in architecture still faces notable hurdles. First is the challenge of integration with legacy materials such as concrete, stone, or steel. Connection detailing requires careful coordination to ensure structural continuity and thermal performance. Second is the perception of cost. While composites may require a higher upfront investment, their lower maintenance demands, improved energy performance, and reduced structural requirements often result in favorable long-term economics. Finally, regulatory frameworks continue to evolve. Building codes have been slow to reflect the unique properties of composites, although this is changing as standardization increases and successful pilot projects proliferate. A Vision for the Future: Architecture as Adaptive Intelligence Composites are not merely substitutes for traditional materials. They represent a paradigm shift in how we understand performance, integration, and the role of material in space-making. As architecture becomes increasingly data-driven, climate-responsive, and energy-conscious, the intelligent envelope will become the norm rather than the exception. Composites make this future feasible by offering structural capability, aesthetic freedom, environmental stewardship, and embedded intelligence within a single engineered solution. From high-speed rail terminals to cultural landmarks, these materials are shaping a new kind of architecture that listens, learns, and evolves. It is no longer sufficient for architecture to stand still. The next generation of buildings must adapt, interact, and perform. Composites make that future tangible. Learn More Explore how composite materials are redefining the building envelope in the construction sector and beyond: Visit Composites.Archi by ArchEyes Team Leave a comment

Apple's nature-themed monikers for its desktop operating system to continue with the newest MacOS.

O Plant-based Ton That Dam Cafe Restaurant / xưởng xépSave this picture!© xưởng xépRestaurant, Adaptive Reuse•Nguyễn Thái Bình, Vietnam Architects: xưởng xép Area Area of this architecture project Area:  160 m² Year Completion year of this architecture project Year:  2023 Photographs Photographs:xưởng xép Lead Architect: Lam Bao More SpecsLess Specs Save this picture! Text description provided by the architects. Tucked away within the dense fabric of the city, this modest and unassuming market offers a distinct counterpoint to the surrounding high-rise office buildings. Amid the city's rapid pace of development, its continued presence acts as a memory anchor—a place where familiar, everyday spaces persist, sustained by the enduring engagement of the local community.Save this picture!Save this picture!Set against that backdrop, the restaurant approaches the site as a careful addition—one that doesn't seek to stand out, but instead contributes a new rhythm to a space already rich with use and memory. The design builds upon the existing values of the old house, transforming them into a spatial experience that responds to contemporary needs.Save this picture!Save this picture!Save this picture!On the ground floor, the original timber beam structure—characteristic of traditional Chinese-influenced housing—is retained and repurposed as a dining area with a notably low ceiling. This spatial arrangement fosters a sense of intimacy, evoking the feeling of traditional communal meals: low tables, shared food, and a sense of togetherness.Save this picture!Save this picture!Save this picture!In contrast, the upper floor presents a loftier, more open volume, with the original roof structure preserved almost entirely. Natural light is filtered in through lightweight materials—such as wire mesh, planted foam panels, and subtly integrated lighting. Large-scale pendant lights are positioned in dialogue with the exposed timber, providing both a gentle sense of enclosure and a visual rhythm that ties the interior to the building's overall structure.Save this picture!Save this picture!The project is guided by an ethos of restraint, continuity, and reinterpretation. The new space does not override the old; rather, it seeks to clarify and reframe its value through a more contemporary and refined design language. The transitions between spatial layers, materials, and functions are intentionally composed—allowing the new architecture not only to settle naturally within the neighborhood, but to coexist and carry forward the narratives already deeply embedded in the site.Save this picture! Project gallerySee allShow less Project locationAddress:Ton That Dam, Ward Nguyen Thai Binh, Dist 1, HCMC, VietnamLocation to be used only as a reference. It could indicate city/country but not exact address.About this office Published on May 31, 2025Cite: "O Plant-based Ton That Dam Cafe Restaurant / xưởng xép" 31 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030545/o-plant-based-ton-that-dam-cafe-restaurant-xuong-xep&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

OK, I know you just read that headline, but let me admit first off that I don’t actually think Elden Ring is that hard — not if you take it slow and steady, which the game’s design not only allows but encourages. At every step of the way in Elden Ring, you can decide exactly how you want to play it. It’s very customizable and it rewards patience. Elden Ring Nightreign is the complete opposite, and that’s why I don’t think it’s for me. And it might not be for most other FromSoftware game fans, either, which is pretty shocking.It wouldn’t be a FromSoftware game launch without at least a few debates about difficulty and certain players hurling “git gud” at each other like it was ever even remotely cool to say that and not just performatively tryhard at best and antisocial at worst. I try to exist instead in the sector of the FromSoftware fandom that is prosocial rather than antisocial — think Let Me Solo Her, for example, or even consider the real-life story that inspired longtime FromSoftware game director Hidetaka Miyazaki to design Demon’s Souls’ multiplayer elements with prosocial thinking in mind (via an old 2010 Eurogamer interview):“The origin of that idea is actually due to a personal experience where a car suddenly stopped on a hillside after some heavy snow and started to slip,” says Miyazaki. “The car following me also got stuck, and then the one behind it spontaneously bumped into it and started pushing it up the hill... That’s it! That’s how everyone can get home! Then it was my turn and everyone started pushing my car up the hill, and I managed to get home safely.”“But I couldn’t stop the car to say thanks to the people who gave me a shove. I’d have just got stuck again if I’d stopped. On the way back home I wondered whether the last person in the line had made it home, and thought that I would probably never meet the people who had helped me. I thought that maybe if we’d met in another place we’d become friends, or maybe we’d just fight...””You could probably call it a connection of mutual assistance between transient people. Oddly, that incident will probably linger in my heart for a long time.”The multiplayer experiences that I’ve had in Dark Souls and Elden Ring definitely do linger in my heart. I’ve also absolutely loved the moments in FromSoftware games in which I’ve personally conquered a difficult section all by myself. But I look back with equal appreciation on the times when I summoned a complete stranger to help me with something — “a connection of mutual assistance between transient people,” as Miyazaki put it. It is how these games are meant to be played, not as brutal solo journeys but as shared experiences.Here’s a screenshot I took of my Elden Ring character at the beginning of the game, before I knew I was going to spend 360 hours playing it Image: FromSoftware via PolygonThis brings us back to Elden Ring Nightreign, a game not directed by Miyazaki but by Junya Ishizaki. The difference in its multiplayer ethos is stark. This is a game designed with three-player squads in mind; it’s currently very punishing for solo players (although an upcoming patch aims to fix some of that), and the designers are still working on a duos mode. Because it’s three-player by default, I assumed that the game would be designed around teamwork and would actively reward prosocial behaviors, like base Elden Ring. I would argue that it’s not, and that’s why it’s very hard to have a good time in the game — especially if you’re playing with complete strangers.Problem number one: There’s no in-game communication system besides pinging certain locations on the map. Lack of chat options is a FromSoftware classic, and in most of these games, you don’t really need communication to understand what to do. Usually, you’re just summoned to help with a boss battle, and after it’s over, you’re done and you go back to your game. But in Nightreign, it’s three-player for the entire game, obviously, and it’s a match-based game, not a hundreds-of-hours RPG. Matches last 45 minutes and every second counts, which means you and your teammates need to be extremely organized throughout. The lack of communication hurts. But that’s not the only problem. Far from it.Problem number two: The ring of fire. This game is a combination of Elden Ring’s open world areas (which encourage slow, methodical exploration) and a Fortnite-esque ring of fire that closes in on you constantly (which means you absolutely shouldn’t be doing any slow, methodical exploration). There’s also a Diablo-esque loot system, but you better read those loot descriptions fast, because the fire is coming for you. There are randomized boss fights all over the map, but oops, you might not be able to complete them in time to collect runes from them, because that fire is closing in. There are also special upgrades that you can only get if you defeat these mid-game bosses all over the map, but you might barely even have time to read those descriptions of the special abilities and select one in time for… you guessed it… the fire rushing towards you.This second problem becomes even more stressful when you have two other people on your team alongside you. This game has not one but two different sprint buttons in it — a regular sprint, and a super-fast sprint that uses up stamina faster. That’s because, of course, you need to be running from that fire. But that means your teammates, and you, need to constantly be doing the equivalent of screaming “move, move, move” like a drill sergeant in an army movie. You will be unwittingly getting annoyed at your teammate who is spending too damn long looking at loot on the ground or at an upgrade tree. The fire is coming! Hurry the fuck up! Again, this is not a game design choice that rewards prosocial behaviors and instead makes you feel dragged down by the two teammates that you also desperately need to survive the bosses in this game. Even the “revive” process involves you inflicting damage on your teammate to bring them back to life (rather than a revive button or item), which is darkly hilarious, because you might also grow to desire hitting them due to how annoyed you might feel that they died during a super difficult fight. Which brings us to the third and final problem.Image: FromSoftwareThird problem: The randomization of the bosses and of the items. The thing about base Elden Ring is that you can figure out a boss and how it works (is it weak to fire? Holy damage? And so on) and then patiently build up a character who can deal with that problem. You can memorize that boss’ attack patterns. You can find a save point nearest to that boss and run it back over and over again until you get past it. These are all of the wonderful and rewarding parts of playing FromSoftware video games; these are also the moments when you might do all of those preparations and then think, “Actually, I want to also summon a complete stranger to help me with this boss because it’s still too freaking hard.” And then you can do that, too. None of that is the case in Nightreign, because everything is completely fucking random.The bosses, except for the very last boss in each area, are random. The loot is random. Do you have the right loot to fight the boss you’re facing right this second? You may very well not. Do your teammates have it? You might not even know; you don’t have a way to communicate with them, after all. Is the boss in this area way overleveled for you and your team? It won’t be obvious until you start hitting it, and once you do that, good luck escaping. And if your team does a complete wipe and everyone dies to that boss together, you don’t get to run back together from the nearest save point, having seen its attack patterns, ready to try again with teamwork in mind. Nope, instead you get to start all over again, except now with new randomized bosses and new randomized loot.In other games with randomized loot, like Diablo, or other roguelikes with random elements like Hades, the game is designed with down time in mind. When you’ve completed a fight in Diablo or Hades, you have infinite time to stand around and make decisions. There is no encroaching circle of fire forcing you to read item descriptions and ability trees quickly. There’s a reason for that; the decision-making is the most fun part of a game with randomized elements. Why would Nightreign take that away?All of these aspects of the game do feel less bad if you’re playing with two good friends on voice chat. But even in that scenario, the game is still really punishing, and again, not in a way that other FromSoftware games are punishing. It’s punishing because you need to spend the entire game running, looking at randomized loot as fast as you possibly can before making a snap (possibly bad) decision, running more, desperately encouraging your teammates to keep on running to keep up, warning your teammates about the encroaching flames about to kill them, and did I mention running? Is this a fun way to spend your weekly gamer night with two other adults who just worked a full-time job all day and maybe just wanted to have a nice time playing a video game together?Image: FromSoftware/Bandai NamcoI’ve had a review code for Nightreign for a while now, so I already was worried about these problems before the game launched, but now that it’s launched and I’m seeing early mixed reviews on Steam, I’m ready to commiserate and validate: Yes, this game really doesn’t feel like Elden Ring, and even after some of this stuff gets patched, it’s still fundamentally super different. And that’s not only because it’s multiplayer, but because the multiplayer just doesn’t feel like other multiplayer FromSoftware experiences. It feels like it’s designed not only for people who have two best friends with whom they play competitive games on a regular basis, but also specifically for people who live for thrills and speed — not the methodical, calculated experiences of other FromSoftware games.For all of those reasons, I’m really not sure how this is going to go for FromSoftware over time. Is this game going to eventually encourage some prosocial behaviors amongst players, against all odds? Will people slowly learn the best ways to get through different areas? Will there be a “meta” for working together that emerges over time?It seems possible, and since it’s only been one day, it’s way too early to tell. Various social norms will emerge in the player community, and hopefully they won’t be toxic ones. But I can tell from having already played the game that this is going to be an uphill climb for FromSoftware fans. It’s a very different game — and its specific form of difficulty is going to be a whole new variety for those fans to get used to. And like me, they might just decide they don’t really care for it.See More:

From Tokyo to Taipei, Ho Chi Minh to Seoul, Asia Pacific has long been a powerhouse in global esports. However, until now, the region's role in the League of Legends ecosystem lacked a central stage. That's all about to change with the inception of League of Legends Championship Pacific (LCP), Riot Games' ambitious new league for APAC. This is the game developer's most significant step yet in unifying its fragmented competitive landscape. To bring that vision to life, Riot partnered with brand and digital studio Koto to craft an identity that would speak to fans across cultures, languages, and gaming styles. The result is a full-spectrum design system shaped by the region, for the region, and built to evolve alongside the fast-moving world of esports. "At its heart, this project was about building pride and momentum," says Koto creative director Melissa Baillache. "Riot made it clear from the beginning: they wanted to give fans a brand that belongs to them." The LCP brand makes that intent clear from the get-go. Under the platform What We're Made Of, Koto constructed an identity rooted in regional passion, from Japan's Oshi-style fandoms to Southeast Asia's hyper-social esports culture. The line isn't just a slogan; it's a rallying cry, making it clear that APAC isn't just participating in global esports – it's here to lead. Designing for competition and community Visually, the brand needed to deliver across an incredible range of touchpoints, from social teasers and broadcast graphics to merch, memes, and fan-created content. The design system is centred on The Pinnacle: a five-player emblem representing unity and competitive intensity. Rendered in molten, 3D finishes, it's a symbol of regional ambition and the raw energy of top-tier play. That energy carries through a modular graphic system inspired by League's own gameplay, specifically the three in-game lanes that structure how matches unfold. This system offers a flexible yet distinctive frame for everything from stat-heavy broadcast overlays to highlight reels and in-arena hype moments. The motion language is just as purposeful. It's fast, focused, and reactive, designed to mirror the breakneck pace of in-game action and the way fans consume esports content in real-time. Whether counting down to kick-off or amplifying a clutch play, the system pulses with immediacy. Voice with impact Koto also worked to develop a voice that cuts through the noise of a crowded digital space. LCP's tone is raw, energised, and emotionally charged, with tight headlines and punchy copy that speaks directly to fans. It's not just branding; it's storytelling engineered for social moments, match trailers, post-game celebrations, and everything in between. The studio's verbal system extends to campaign slogans, hashtags, and commentary-style callouts, all of which work together to build momentum, fuel rivalries, and stoke regional pride. A custom typeface that sets the tempo At the core of the visual identity is LCP Ignite, a custom variable typeface designed to capture the rhythm and sharpness of League gameplay. Inspired by the 'fired up' ethos of competitive play, it flexes across every format, from match stats and player quotes to dynamic on-screen graphics. Given the region's linguistic diversity, the system also includes a suite of secondary typefaces (including Archivo, Kinkakuji and Thonglor Soi 4 Nr) to ensure legibility and consistency in languages across APAC. The goal here was to create a type system that speaks to everyone, from die-hard fans to casual mobile viewers wherever they are. Fuel for fandom Koto's system goes beyond expectations by creating tools that grow with the community. A suite of icons and illustrations—all drawn from the strokes and geometry of LCP Ignite—provides creative fuel for Riot and fans. These assets flex across platforms, helping commentators, players, and creators build content that feels cohesive but never prescriptive. Gerald Torto, senior strategy director at Koto, says: "The goal with LCP was to frame the league not just as a competition, but as a cultural force. The energy and sentiment captured in the idea 'What We're Made Of' is a fitting platform. It gives APAC an unapologetic and proud voice that looks ahead to an exciting future." The scale of the system matches that ambition. Alongside Riot's APAC PubSports team, Koto delivered a complete brand toolkit with hundreds of assets – spanning physical, digital, and broadcast formats – built to scale across seasons, teams, and evolving tournament formats. Setting the stage for APAC's next era What sets this project apart is its commitment to longevity. LCP is a vast infrastructure investment into the future of competitive gaming in APAC, and the brand has already begun rolling out teaser campaigns, test broadcasts, and live events, setting the stage for a new chapter in League of Legends. As Koto continues to expand its presence in the region, the LCP identity is a strong signal of what's possible when global ambition meets regional nuance. It's also a showcase of what the Sydney studio brings to the table: cross-cultural fluency, strategic storytelling, and a flair for building scalable, high-impact identities with soul. With the official launch of LCP now live, Riot and Koto are inviting the world to witness what the region is made of.

The new campus in Irpin, west of Kyiv, is intended to act as a hub for research and regeneration following wartime destruction Source: StantecStantec’s winning design for the State Tax University in Irpin, Ukraine Stantec has been named the winner of an international architectural competition to redesign the State Tax University in Irpin, Ukraine, after the partial destruction of its campus during the early stages of Russia’s invasion.  Located approximately 20 kilometres from Kyiv, the State Tax University specialises in training students in public finance, law and accounting. The competition was organised by the US-based nonprofit Center for Innovation, in partnership with the university itself, Ukraine’s Ministry of Finance, and Dobrobat, a Ukrainian volunteer construction organisation that supports the reconstruction of housing and social infrastructure. A total of 49 entries from 18 countries were submitted, with the jury composed of Ukrainian, European and American architects. The competition brief sought submissions that addressed a broad range of goals, including sustainability, equity and accessibility. Stantec’s proposal is intended to reflect the identity of Irpin, nicknamed the “City of Parks”, and aims to combine educational, ecological and civic functions within a new campus framework. The scheme is described as inclusive and adaptive, applying a “Design for All” ethos in response to the university’s stated ambitions of becoming an international research institution. The design retains the footprint of the destroyed main building and reinterprets it as a central civic and academic space. The proposed structure is envisaged as an open and permeable environment, with shared areas intended to promote collaboration and exchange. Stantec's winning design for the State Tax University in Irpin, UkraineSource: Stantec Stantec's winning design for the State Tax University in Irpin, UkraineSource: Stantec Stantec's winning design for the State Tax University in Irpin, UkraineSource: Stantec 1/4 show caption Commenting on the outcome, jury chair Wendy Hillis said: “The jury unanimously agreed that this submission presented a strong engagement with the city of Irpin and the forest nearby. We liked the openness of the plan and the way the proposed buildings draw people into the site while also offering transparency of common areas.” Stantec design director Dathe Wong said: “It is a privilege to contribute to a project that will heal, inspire, and imagine a brighter future through the power of education, community, and design.” Dymtro Serebrianskyi, acting rector of the university, added: “Designing an architecturally significant and sustainable building will inspire students and faculty and continue to support Ukraine.”

Kloo didn’t set out to eliminate the ritual of making coffee; they set out to refine it. Equal parts culinary secret weapon and everyday indulgence, Kloo is a small-batch coffee concentrate that delivers bold, specialty-grade flavor to everything from your first morning cup to cocktails and desserts. It’s part chef’s tool, part personal luxury – crafted for those who love to cook, love to host, and love a good cup of coffee. Kloo’s frosted glass bottle adorned with an artful screen-printed design, looks more like a fine spirit than a morning essential. The logo – a maze-like looped ‘K’ – reflects the brand’s ethos: complexity distilled into simplicity. It’s a bottle that signals premium, not just in flavor, but in form. Founded by mother-daughter duo Claudia Snoh and Mariella Cho, Kloo was created from a shared obsession with the nuance of great coffee. Mariella, a certified Q Grader (the coffee world’s version of a sommelier), developed Kloo’s proprietary “super concentrate” brewing method to bring out the purest, most expressive flavor of each bean – then aged each batch for up to 21 days to deepen body and complexity. From sourcing to shipping, every detail is intentional. Kloo uses only specialty-grade beans (each scoring 85+ by Q Graders), roasted in-house and brewed in small batches. The concentrate is then cold-shipped and kept refrigerated to preserve every note. A taste of the single-origin varieties: Colombia (Venecia, Cundinamarca): Almond, maple syrup, blackberry Kenya (Karundu, Nyeri): Grapefruit, lemongrass, dark chocolate Ethiopia (Adado, Yirgacheffe): Peach, jasmine, wild berry Guatemala (Pasajquim, Atitlán): Toffee, burnt toast, dark chocolate Each profile is bold enough to stand on its own, yet balanced enough to complement whatever you’re making. Unlike many concentrates, Kloo’s strength and consistency make it a natural fit for chefs and bakers, especially in large batches where precision matters. Whether you’re stirring it into a sauce or folding it into a batter, Kloo delivers depth, not bitterness. It’s a shortcut that doesn’t feel like one. And while it’s a favorite among chefs, it also belongs in every home cook’s fridge. You’ll find yourself reaching for it more than you expect – whether for an impromptu dessert, a 4pm boost, or an elevated cocktail. For those who love to gather, Kloo is a quiet revolution. It makes the art of hosting feel seamless – adding flavor, elegance, and just a little flair to your moments of connection. One of the best-kept secrets of the seasoned host? Bookend your gathering with memorable moments. Start high, end high – and do it with something that’s bold, caffeinated, and effortlessly chic. Welcome your guests with a low-ABV drink, perfect for warm afternoons. Kloo Stout 1.5 oz Kloo coffee concentrate 12 oz chocolatey stout or lager Preparation: Add chilled Kloo to the bottom of a pint glass, then slowly pour in the beer and let it mix naturally. Smooth, rich, and just unexpected enough to be a conversation starter. Close the evening by serving guests an easy and elegant dessert that never disappoints. Kloo Affogato 1 scoop vanilla gelato 1 shot (about 1.5 oz) Kloo concentrate Preparation: Pour Kloo directly over the gelato just before serving. Dessert and coffee, all in one beautiful moment. Like most devout daily coffee drinkers, I’ve always been skeptical of concentrates – too often they’re bitter, flat, or forgettable. Kloo is different. It doesn’t replace the ritual of great coffee; it respects it, while making room for all the ways we actually live. Whether you’re brewing slowly, moving quickly, cooking for others, or just trying to get out the door, Kloo brings depth and intention – without asking you to compromise. For more information on Kloo, visit drinkkloo.com. Photography courtesy of Kloo.

WANTED, the International Contemporary Furniture Fair’s (ICFF) show-within-a-show, has grown almost exponentially since its first iteration as WantedDesign circa 2011, evolving so much so that the platform – with its iconic yellow walls nestled into the Javits Center – has become one of America’s go-to platforms to find emerging talent, tap into an intimate creative network, and discover trends ahead of the commercial industry. The 2025 showcase provided a wealth of inspiring design, we had to share a roundup all its own… Mockinbird Studio Epic in proportion, masterfully constructed, and officially record-making. The Farsala-based Mockinbird Studio showcased their most ambitious project to date: a monumental space divider. It is the largest – and arguably most beguiling – piece of contemporary marquetry artwork in existence, entirely designed and handcrafted in their Greece studio using traditional techniques. The object blends functionality with a narrative-driven, highly-aesthetic composition for the perfect piece of collectible design. Cuff Studio Cuff Studio presented their first solo exhibition, entitled “Within,” and unveiled select pieces from their Spring 2025 furniture collection of the same name. The C Back Lounge Chair – a trade exclusive – distills some of their favorite design gestures into an elegant, barely-their structural frame then paired with a sculptural waterfall seat and back cushion. Of note are the protruding curves that seemingly reach out for a handshake and the textural, pink upholstery seen here, which echoes triangular forms used across their broader portfolio. Mary Ratcliffe Studio + Anony Presenting together for their fourth ICFF, Mary Ratcliffe Studio (MRS) and Anony collaborated on a booth filled with sleek and sculptural, architecturally-inspired design objects. Their work is elementally complementary, which lent themselves to a more honest, fulsome showcase. MRS’s monumental furniture pieces are inspired by the physicality of material play, while Anony’s lighting takes inspiration from architectural gestures. Ready To Hang Mirrored surfaces are hard to resist, especially when their design makes you feel seen – figuratively speaking. Ready To Hang’s fashionable, ready-to-wear-inspired furnishings feel like fun accessories and an extension of personal style as they approach home decor through concepts found in styling for apparel. This year marked their ICFF debut with a highly curated showcase mixing classic pieces with a few concepts yet to come. UWU Studios Typically driven by a human-centered design ethos, multidisciplinary UWU Studios has expanded their scope to include the feline experience. Their UNU Cat Dreams product is equal parts pet play and collectible design, sure to please all parties. Even aesthetes without a furry friend can still appreciate its composition, blending surfaces, textures, colors, and forms for quite unique sculptural compositions. It’s an exemplary approach that elevates everyday objects to the venerable. Estudio PM Racking up multiple awards during the show – and rightfully so – Estudio PM demonstrated how fabric waste and unwanted textiles can be recontextualized within the realms of art and home furnishings. The duo behind the initiative created totems and garment-inspired side tables with the careful layering of reclaimed cloth. Noiro Studio Hand-blown glass lamps stood on various podiums in a curious display of artisanal lighting comprising colorful bases dotted with glass and stone orbs. Each globe’s curvature represented the fabric of spacetime, with precious objects are suspended within the glass shades – a steady reminder of our weight, and also insignificance, of our existence in the world. Noiro Studio plays with themes of heft and weightlessness, continuing to keep things relative. Ridezign Ridezign offers an ode to New York City. The Tesser Collection resembles skyscrapers in miniature blocks constructing cantilevered forms in multiple configurations and colors. These lamps leverage additive manufacturing making every piece made-to-order, reducing overstock, and ultimately eliminating the need for storage. The warm diffusion of the subsequent layers of material create lovely channels of light, adding to the spectacle of the city. Koba Furniture Koba Furniture is proud to create all elements for Series 02 within their Baltimore studio – except for the drawer pulls, shares designer Sam Acuff – a testament to the respect for craft that is clearly shown here. Jauntily stocky feet meet tiny tube legs, with a nicely balanced drawer set on top. Extra points for the elevated milk crate; it adds such a nice feel to the booth. 9 & 19 9 & 19 is back this year with organic shapes and cheeky details. Who doesn’t love an easter egg in design? From inlaid squiggles to handmade tiling, this collection offers a unique blend of customization and utility while remaining approachable and fun. Hannah Via Hannah Via brings some highly welcome fiber arts representation to WANTED, her tufted lamps bringing a sense of whimsy and possibility to the show. Sporting pops of scarlet, cobalt, and bronze, a light peach background acts as a pendant for a singular Edison bulb, which cases a cozy glow in an elegant connection to the warmth of the yarn it rests upon. Sawyer Made Lovingly crafted in Woodbury, Vermont, Sawyer Made is a second-generation family of woodworkers honoring the classic stance and build of a Windsor chair, but with a few modern updates. As the arm meets the back, the angle rotates 90 degrees offering a beautiful detail absent from most traditional Windsors. Like ballet, a combination of experienced craft and innate knowledge makes the hardest work look easy. Ora House Cobalt is back in a big way with Ora House, as evidenced by their removable upholstery panels that can be switched out to reflect any style or change in local decor. Playful, soft, and sturdy, the ottoman, bench, and hutch offer a fun way to sit, stay, and store. Daniel Gruetter Daniel Gruetter is a woodworker based in Toronto, Canada. Showing an elegant credenza created entirely out of the discarded offcuts from his practice, he upends what is considered valuable on a platform that inherently places value on everything. Employing wooden hinges takes the project to another level, letting a singular material do the talking through expert craftsmanship. Reces NYC With a nod to the cobalt we spotted around the show, Reces NYC wraps up our top picks for WANTED this year with a gestural upholstered piece. Elements extend in a satisfyingly solid manner to create an interesting and distinctly luxurious look users could get lost in. Check out out the rest of Design Milk’s NYCxDESIGN coverage here!

On Designing National Pavilions: Power and Identity at Universal ExhibitionsSave this picture!Czech Pavilion Expo 2025 Osaka / Apropos Architects Image © boysplayniceWhat can a pavilion’s architecture reveal about its country? At major World Expos, national pavilions are designed to answer this question, transforming into spaces laden with symbolism. Though temporary, these structures are rich in meaning, functioning as architectural expressions of political identity. Their forms and materials encapsulate national ambitions. Expo Osaka 2025, the latest chapter in this ongoing narrative, showcases how nations increasingly use built space to construct global images of themselves—sustainable, technological, culturally distinct, and geopolitically relevant. Save this picture!Over the decades, these pavilions have evolved into meticulously curated narratives where architecture, politics, and culture intersect to shape national identity. At Osaka 2025, this symbolic and diplomatic function becomes even more pronounced. Pavilions communicate not only who a nation is, but who it aspires to be. The environmental agenda, for example, has become a compelling vector of soft power. Japan’s pavilion exemplifies this shift, employing local wood, parametric design, and natural ventilation not just for function, but as metaphors of circularity and harmony with nature.Save this picture!Meanwhile, countries like Saudi Arabia and the United Arab Emirates are embracing immersive technologies—augmented reality, responsive facades, and AI—to reframe their narratives. No longer defined solely by oil economies, they seek to position themselves as innovation-driven futurescapes. In this context, national identity is staged like a multisensory installation. Materials, sounds, aromas, lighting, and spatial choreography become tools for storytelling—none of them neutral, all of them charged with intent. Related Article Are World's Fairs a Thing of the Past? The Role that Architecture Played on One of History's Biggest Stages Architecture as a Political StatementPavilions transcend cultural or technological display to become instruments of political messaging. Architectural choices convey nuanced—or at times overt—signals about values, ambitions, and worldviews. Denmark’s Expo 2020 Dubai pavilion, with open ramps and fluid circulation, subtly suggests democratic transparency and inclusion, while Russia’s monumental spiral structure evokes nationalism and technological command. Here, architecture becomes a codified discourse: every curve, void, and surface reads like a political sign.Save this picture!This language continues at Osaka 2025. Israel’s pavilion, inspired by the ecological resilience of deserts, presents a narrative of innovation and perseverance amid adversity—an architectural response to both climate challenges and regional geopolitics. Bahrain’s contribution, by Lina Ghotmeh Architecture, focuses on the adaptability of maritime cultures. South Korea’s high-tech, futuristic pavilion reinforces its position as a rising digital powerhouse.In some instances, however, absence speaks just as loudly. In previous editions, countries like North Korea and Syria have boycotted the Expo as a form of political protest. These silent gestures are part of the same strategic vocabulary, where presence, form, and even withdrawal shape the geopolitical stage set by architecture.Save this picture!Sustainability on DisplayAmid the global climate crisis, national pavilions have also become key arenas for environmental diplomacy. Sustainability—once a peripheral concern—is now central to the architectural narrative of Expos. It’s no longer only about meeting green standards, but about crafting a spatial language that embodies ecological responsibility. This shift also challenges the very notion of ephemerality: where temporariness once defined these structures, reuse, intelligent disassembly, and material reintegration now drive their conception.This ecological turn is particularly evident at Expo Osaka 2025. With the theme “Designing Future Society for Our Lives,” the event encourages models of regenerative, cooperative, and resilient living. Sweden’s and Germany’s pavilions are designed for a second life, to be repurposed as schools or community centers. The U.S. pavilion, designed by Trahan Architects, incorporates steel, fabric, and HVAC components repurposed from Tokyo 2020 Olympics structures—materials slated for further reuse across Japan. In this framework, the Expo becomes a laboratory of environmental geopolitics, where sustainability itself is a form of soft power.Save this picture!Technological Spectacle as a National StrategyIn contemporary Universal Exhibitions, technology is no longer displayed as an end in itself but has become a narrative and experiential medium. Immersive installations, sensory interfaces, and AI-driven storytelling transform pavilions into interactive ecosystems, where visitors are both spectators and agents. This shift signals a significant change: it is no longer just about showcasing innovation, but about embedding technology into the dramaturgy of space. Architecture, in this context, ceases to be a static backdrop and merges with experience design, dissolving the boundaries between the built and the digital. Moreover, the way each country orchestrates these elements reveals its ability to envision desirable futures—and to position itself as a protagonist in the global technological transformation.Save this picture!At Expo Osaka 2025, this race for technological affirmation takes clear shape in pavilions such as that of the United Arab Emirates, which offers an interactive journey through environments responsive to human presence, narrative artificial intelligence, and real-time sensors that react to visitors’ actions—demonstrating a sophisticated technical mastery with implications across multiple spheres. In a similar vein, the Uzbekistan Pavilion stands out with an exhibition focused on empowerment, highlighting the country’s openness to innovation and its commitment to preparing for the future.Yet this immersion presents a growing tension: how to balance technological spectacle with architectural integrity. In some cases, architecture risks being overshadowed by its digital overlay, losing spatial coherence. The most compelling pavilions are those that fuse form, function, and innovation into a seamless whole, where technology becomes not an add-on, but an intrinsic architectural language.Save this picture!Intercultural Collaborations: The True LegacyWhile Universal Exhibitions are organized around national representation, they have also emerged as vital platforms for cultural exchange. Increasingly, national pavilions are designed by multicultural teams, resulting in more nuanced, inclusive, and inventive expressions of identity, not as a fixed essence, but as something fluid and co-constructed.Save this picture!At Osaka 2025, this collaborative ethos is exemplified by pavilions such as Switzerland’s, designed by an international team, and Indonesia’s, which brings together local architects and foreign consultants. These collaborations offer more than design efficiency—they signal gestures of quiet diplomacy. In a climate of resurgent nationalism, such exchanges underscore that innovation thrives through openness and dialogue. Each pavilion becomes a space of mutual learning, expanding the very meaning of global belonging.Save this picture!Ultimately, the lasting value of Expos may not lie in reinforcing national brands, but in fostering encounters—shared spaces where ideas, technologies, and cultures converge to respond to urgent global challenges. As architect Manuel Herz, designer of the Swiss Pavilion, puts it: “In a moment of global tension, every possibility for us to physically meet in a shared space and celebrate something that can still be described as a cosmopolitan spirit needs to be valued and utilized.” Amid so many crises, pavilions remind us that architecture is more than shelter or style—it is a vessel for connection, a space for learning, and a rehearsal for futures we must build together.We invite you to check out ArchDaily's comprehensive coverage of the Expo Osaka 2025. Image gallerySee allShow less About this authorCamilla GhisleniAuthor••• Cite: Ghisleni, Camilla. "On Designing National Pavilions: Power and Identity at Universal Exhibitions" [Projetando Pavilhões Nacionais: Poder e Identidade nas Exposições Universais] 30 May 2025. ArchDaily. (Trans. Simões, Diogo) Accessed . <https://www.archdaily.com/1030539/on-designing-national-pavilions-power-and-identity-at-universal-exhibitions&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