A New Museum Dedicated to Frida Kahlo’s Early Years and Family Life Is Coming to Mexico City The Museo Casa Kahlo will be located beside the popular Museo Frida Kahlo. It will display letters, artworks and mementos that shed light on the Mexican artist’s childhood Frida Kahlo in 1944 Bettmann via Getty Images A new museum dedicated to the early life of the Mexican painter Frida Kahlo is opening in Mexico City. Located in the city’s historic Coyoacán district, the Museo Casa Kahlo will tell the Mexican painter’s story through letters, toys, artworks and other personal items. “This museum isn’t just about her work—it’s about her world,” Frida Hentschel Romeo, Kahlo’s great-grand-niece, tells Vogue’s Chloe Schama. “It’s about how the people closest to her shaped who she became. And it’s also about the living family—those of us who carry her legacy forward.” The museum will occupy a building known as Casa Roja, a home belonging to the Kahlo family. It’s next door to the already famous Casa Azul, the family home built by Kahlo’s father in 1904. The Museo Frida Kahlo, which occupies Casa Azul, has been open since 1958. Andrew Hasson / Getty Images Born in 1907, Kahlo grew up in Casa Azul and later shared it with her husband, fellow artist Diego Rivera. She purchased the neighboring red house (also owned by her parents) for her sister Cristina’s family. Four years after Kahlo’s death in 1954, Casa Azul was converted into the popular Museo Frida Kahlo, which displays art and objects from Kahlo’s adult life alongside rotating exhibitions. Casa Roja has remained in the Kahlo family, passed down by Cristina’s descendants. “Cristina was by her side through so much,” Hentschel Romeo tells Vogue. “Traveling with her to New York for her first major exhibition, supporting her through surgeries and recovery.” Frida Kahlo photographed by her father in 1932 Public domain via Wikimedia Commons Pain was a constant throughout Kahlo’s life. After sustaining serious injuries from a bus accident at 18, she endured chronic symptoms for the rest of her life. Despite these challenges, Kahlo thrived as an artist, garnering international acclaim for her vibrant, wrenching self-portraits. Some of Kahlo’s most famous paintings are painful depictions of women’s suffering, her own injuries and her turbulent marriage to Rivera, who had countless affairs (including one with Cristina). Casa Roja was eventually passed down to Cristina’s granddaughter, Mara Romeo Kahlo, who is Kahlo’s closest living relative, reports the New York Times’ Robin Pogrebin. Romeo Kahlo volunteered the red house to host the new Museo Casa Kahlo, which will open in late September. Its development is being overseen by Fundación Kahlo, a nonprofit recently established by the Kahlo family, which aims to “preserve Frida’s legacy and promote Mexican, Indigenous and Latin American art and culture on a global scale,” according to its website. “For the first time, the voice of the family will be at the heart of how Frida’s story is told,” Hentschel Romeo tells Vogue. As Romeo Kahlo explains to the Times, “The family was very important for Frida because it was her support.” While Casa Azul focuses on Kahlo’s adult life, the new museum will focus on her early development. Visitors will examine never-before-seen personal artifacts, such as childhood photographs, dolls, letters, jewelry, clothes and a piece of embroidery Kahlo sewed when she was 5. Other highlights include the artist’s only known mural and her first oil painting.Hentschel Romeo tells Vogue that Kahlo showed this painting to her husband, asking him to judge whether she had the talent to be a painter. “It is incredibly moving to see up close,” she adds. “This is a dream long held by our family,” Romeo Kahlo says in a statement. “Frida’s legacy belongs to the world, but it begins here—on this land, in these homes and in the culture that shaped her. Museo Casa Kahlo will allow us to tell new stories, share family secrets, host new voices and build a future that honors her spirit.” Get the latest stories in your inbox every weekday.

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

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

Floyd Mayweather and Donald Trump, HBO Boxing Icon says, "No Mayweather, No Trump"Credit: Getty North America - Mayweather (Allen Berezovsky / Contributor) Trump - (Kevin Dietsch / Staff) “No Mayweather, no Trump.” That’s the heavy-duty take HBO Boxing icon Jim Lampley dropped on me during our conversation on Friday afternoon. It’s one of the most polarizing, but plausible things anyone has said to me in a while. In case you’re a relatively young sports fan or someone who didn’t pay much attention to HBO Boxing during the 1990s and early 2000s, you may not know Lampley. Without listing every accolade and distinction, I’ll say this: there are people in every industry who have a combination of experience and wherewithal that enables them to captivate a room with the stories and takes they’ve accumulated during their journey through levels of their craft and the years of their life. Lampley is one of those people.CANASTOTA, NY - JUNE 14: Boxing commentator Jim Lampley poses with his new ring and photo on the ... More wall after the induction ceremony at the International Boxing Hall of Fame induction Weekend of Champions events on June 14, 2015 in Canastota, New York. (Photo by Alex Menendez/Getty Images)Getty Images During our interview, we discussed his book, It Happened, his autobiography that tells the story of his 50-year career in sports broadcasting and tons of boxing stories and concepts. I asked him about the infamous post-fight moment with his longtime broadcast partner Larry Merchant—you know the one, where Mayweather snapped, “you don’t know s### about boxing,” and Merchant fired back, “if I was 50 years younger, I’d kick your a##.” It’s classic. I wanted to know from Lampley, who was there, what the deal was with Mayweather and Merchant, but I got so much more. Lampley explained, “Well, obviously it was something that built up over a long period of time. I think that Larry gave him proper credit for being a great fighter. In particular, he didn't like that Larry would sometimes say something to the effect of, well, he's great and you can't beat him, but he isn't gonna sell a single ticket with this style, that kind of thing.” Clearly, Merchant was wrong about Mayweather’s ability to sell tickets. No fighter has made more in pay-per-view revenue, and Mayweather can still command a crowd and a payday by participating in boxing exhibitions. Also, if you watch the history of post-fight interviews between Mayweather and Merchant, the latter is particularly abrupt and a little antagonistic toward the fighter. Even during the aforementioned interview, the conversation starts off with Mayweather having his arm around Merchant. However, Merchant’s tone and verbiage was off-putting to Mayweather as it came just moments after the controversial ending to his fight with Victor Ortiz, but I digress. That aspect of Lampley’s answer was mostly what I expected to hear. The broadcast journalism legend delivered a punchier concept as he delved deeper into Mayweather’s dynamic and his overall influence on American culture.NEW YORK, NEW YORK - FEBRUARY 26: Floyd Mayweather Jr. visits "Making Money With Charles Payne" at ... More Fox Business Network Studios on February 26, 2025 in New York City. (Photo by John Nacion/Getty Images)Getty Images “One of the things I say, have said over and over and will continue to say until proven otherwise, no Mayweather, no Trump,” Lampley said. Trump is a boxing fan, Trump watched what Floyd did. Trump realized from what Floyd did that you could build and develop a social media audience and you could do it with negativity. You didn’t have to be happy talk. You didn't have to be a great guy. There were some people who would rather that someone was channeling their angst and their frustration and venting it on the web. And I believe to this day, no Mayweather, no Trump.” The concept is wild, but not completely unfathomable. I used to say this about Mayweather, ‘it takes a special kind of person to be at peace with being the most hated person in a room.’ In that sense, it’s easy to see tons of people in every industry who have adopted that approach–whether they got it from Mayweather or someone else.DETROIT, MICHIGAN - OCTOBER 18: Republican presidential nominee, former U.S. President Donald Trump, ... More brings boxing legend Thomas Hearns to the stage during a campaign rally on October 18, 2024, in Detroit, Michigan. There are 17 days remaining until the U.S. presidential election, which will take place on Tuesday, November 5, 2024. (Photo by Win McNamee/Getty Images)Getty Images Donald Trump’s involvement with boxing dates back to the late 1980s and early 1990s, when Trump Plaza in Atlantic City became a key venue for major fights. At its peak, the hotel and casino played host to several heavyweight title bouts, including, Mike Tyson vs. Michael Spinks in 1988 and Evander Holyfield vs. George Foreman in 1991. Trump didn’t just rent out space for the fights—he appeared to actively positioned himself as a central figure in these events, often appearing ringside, hosting press conferences, and getting photographed with the fighters.ATLANTIC CITY, NJ - JANUARY 22: Businessman Donald Trump in ring with boxer Mike Tyson after ... More knocking out opponent Larry Holmes at Tyson vs Holmes Convention Hall in Atlantic City, New Jersey January 22 1988. (Photo by Jeffrey Asher/ Getty Images)Getty Images Some may argue Trump used these moments to build prestige, associate himself with dominance and success, and to thrust himself into the spotlight. Needless to say, it seems to have worked.ATLANTIC CITY, NJ - JANUARY 22: Businessman Donald Trump and Champion Boxer Evander Holyfield at ... More Tyson vs Holmes Convention Hall in Atlantic City, New Jersey January 22 1988. (Photo by Jeffrey Asher/ Getty Images)Getty Images Putting a bow on the Mayweather-Merchant beef: “So Floyd was the original social media genius and the essence of the genius was to prove that you could be negative rather than positive and you would build an audience that way,” Lampley continued. “And so Floyd didn’t like the honest straightforward evaluations that Larry offered on the air and most particularly about his style of fighting that he was a hide-and-seek fighter, that he was not trying to do damage in there, et cetera, et cetera. And I thought that was palpably visible. Floyd just didn’t want anybody to say it. So they didn't like each other and it was really more Floyd disliking Larry than vice versa." Mayweather’s rise to global prominence began in the mid-2000s. Specifically, his bet-on-myself fight against Oscar De La Hoya in 2007. The fight marked Mayweather’s triumphant separation from Top Rank Boxing and it also was the cornerstone moment of his shift from “Pretty Boy” to “Money.” Mayweather and Trump’s paths would more publicly cross years later. In Mayweather may have used social media to push negative concepts in the past. However, to his credit, I interviewed him earlier this year, and he formally apologized for every time he used social media to be toxic. That admission actually adds some credence to Lampley’s concept. I’ve never had an opportunity to speak to President Trump, but I can promise you, if I do, I will ask him if he learned anything from his encounters with Mayweather. Whether Trump truly studied Mayweather’s moves or simply mirrored them instinctively, the similarities are clear—and Lampley might be one of the only people to call it out this directly.

All images courtesy of Marshmallow Laser Feast, courtesy of Royal Botanic Gardens, Kew, shared with permission In ‘Of the Oak,’ a Magnificent Tree at Kew Gardens Gets an Immersive ‘Digital Double’ May 30, 2025 Kate Mothes “We believe in the power of stories to tickle senses and shift perceptions,” says Marshmallow Laser Feast, an experiential artist collective merging art, extended reality (XR), and film into large-scale, immersive exhibitions. MLF’s latest work, Of the Oak, situates a monumental, six-meter-tall, double-sided video of the titular tree in London’s Royal Botanic Gardens, Kew. The piece focuses on the garden’s Lucombe oak, portraying a “digital double” using real-world data. Photo by Barney Steel MLF collaborated with researchers from Kew to create a vibrant, scientific rendering, blending advanced technologies with artistic imagery. The team stitched together thousands of images, used LiDAR to map the tree’s form with laser pulses, CT-scanned soil samples, employed ground-penetrating radar to trace the root system, and recorded a series of 24-hour soundtracks. “Of the Oak is a celebration for the oak tree as a living monument of vital ecological relationships and species interdependence,” MLF says. “It is an invitation to witness the oak as a keystone in the web of life, majestic and unassuming, stretching its branches skyward and its roots deep into the soil, embodying both quiet strength and boundless generosity.” Visitors can access a stunning digital field guide on their phones or via desktop from anywhere, featuring a series of meditations that “tune into the invisible bond between humans and trees.” The app also includes an interactive species guide highlighting the diverse range of birds, insects, fungi, and other inhabitants that rely on oak trees for survival. Of the Oak continues at Kew through September 28. Marshmallow Laser Feast is also currently presenting an immersive, seven-room exhibition titled YOU:MATTER at the National Science and Media Museum as part of Bradford 2025 U.K. City of Culture. See more projects on the collective’s website. Photo by Sandra Ciampon Photo by Barney Steel Previous articleNext article

A floating pavilion square in plan, topped by a parabolic waffle slab held up with pilotis, will soon debut in Italy at the 19th International Architecture Exhibition of La Biennale di Venezia before traveling to Belém, Brazil, for COP30, the UN’s annual climate conference. AquaPraça, a collaboration between Höweler & Yoon and Carlo Ratti Associati, is conceived as a gathering space for global climate dialogue. In Italy, AquaPraça will accompany programming at the Italian Pavilion. It will be transported later this year across the Atlantic Ocean to the coast of Brazil, where world leaders, climate activists, and architects will convene in November at COP30. The pavilion will have capacity for 150 people. (Courtesy CRA/Höweler & Yoon) A water feature in the center of the pavilion was informed by Archimedes’ principle. (Courtesy CRA/Höweler & Yoon) A rectangular tub, in the center of the pavilion, filled with water helps with buoyancy—a design decision informed by Archimedes’ principle, a law of physics fundamental to fluid mechanics. Carlo Ratti said AquaPraça is likewise rooted in architectural history. “In 1979, Aldo Rossi launched the Teatro del Mondo at the first Biennale Architettura, positing that architecture could engage with the past,” Ratti said in a statement. “Today, AquaPraça shows how architecture can engage with the future—by responding to climate and engaging with nature rather than resisting it.” Höweler & Yoon previously designed a similar concept, dubbed Float Lab, set to open on the Schuylkill River in Philadelphia in 2026. Like Float Lab, AquaPraça visitors will bear witness to dynamic fluctuations of sea level rise at eye level, added Eric Höweler. The 4,000-square-foot ensemble coming to Brazil will have capacity for hosting 150 people for exhibitions, workshops, symposia, and cultural events. AquaPraça’s “sloping surfaces and shifting levels embody a delicate equilibrium,” Höweler said. “It’s a platform, both literal and figurative, for deepening our collective understanding and experience of sea level rise and the impacts of climate change on global cities and communities and seeking collective solutions,” elaborated J. Meejin Yoon.  The floating pavilion is currently under construction in northern Italy by steel construction company Cimolai. It will open in Venice on September 4. Then, ahead of COP30 from November 10–21, it will go to Belém, becoming a “permanent floating landmark in the Amazon—an architectural testament to adaptability and dialogue in the face of climate change.”  Visitors will be at eye level with the water. (Courtesy CRA/Höweler & Yoon) Last year’s COP29 took place in Baku, Azerbaijan, while the G20 summit happened in Rio de Janeiro. At G20, Brazil president Luíz Inácio Lula da Silva announced that, by 2030, there will be “zero deforestation” in Brazil, a huge win for climate activists. “We need to take care of the largest forest reserve in the world,” Lula said last year in Rio de Janeiro, “which is under our care. Trying to make people understand that keeping the forest standing is an economic gain.” AquaPraça is a partnership with Italy’s Ministry of Foreign Affairs and International Cooperation, and the Italian Ministry of Environment and Energy Security. It’s also supported by Brazil’s Ministry of Foreign Affairs, Bloomberg Philanthropies, the World Bank’s Connect4Climate program, CIHEAM Bari, and others.

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

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Together with Italy's Ministry of Foreign Affairs and International Cooperation, Italy's Ministry of Environment and Energy Security, CIHEAM Bari, the World Bank Group's Connect4Climate program, Brazil's Ministry of Foreign Affairs, and Bloomberg Philanthropies, CRA-Carlo Ratti Associati and Höweler + Yoon have unveiled AquaPraça, a floating cultural plaza that will serve as the focal point of COP30 in Belém, Brazil. AquaPraça serves as a forum for international climate discussion by utilizing sensing technologies and Archimedes' principle to adjust to shifting sea levels and occupancy demands. It will make its transatlantic journey to the Amazonian city, where it will become a permanent cultural landmark, after making its premiere at the 19th International Architecture Exhibition of the 2025 Venice Architecture Biennale. The architecture of AquaPraça, which spans more than 400 square meters (4,000 square feet), physically carves out public space from the sea, establishing a tangible conversation between natural forces and the constructed environment. Using the concepts of buoyancy, displacement, and equilibrium, the submersible structure floats. AquaPraça continuously adjusts its holding and releasing capacity to keep a low freeboard with the surrounding water level. At eye level, the audience witnesses the dynamic variations of sea level rise, resulting in fresh insights into urban and ecological systems. AquaPraça's aim is to act as a civic catalyst. It can accommodate more than 150 people for cultural events, workshops, symposia, and exhibitions. It will make its sustainable journey to Belém after making its debut at the Biennale Architettura in September 2025. There, it will be a crucial component of the Italian Pavilion at COP 30, showcasing Italy's architectural and climate action thoughts to a worldwide audience. As a permanent legacy of the summit in the Amazon, the platform will continue to be a component of Belém's cultural infrastructure after the summit. A special international alliance makes AquaPraça possible. It was started in collaboration with the Ministry of Environment and Energy Security and the Ministry of Foreign Affairs and International Cooperation in Italy. It is also supported by Bloomberg Philanthropies, the World Bank's Connect4Climate program, CIHEAM Bari, Brazil's Ministry of Foreign Affairs, and others. The establishment emphasizes the goal of bringing disparate communities together and promoting ecological thought globally. There is a formal procedure in place for expressing interest."In 1979, Aldo Rossi launched the Teatro del Mondo at the first Biennale Architettura, positing that architecture could engage with the past," said Carlo Ratti, professor at MIT and the Politecnico di Milano, co-founder of CRA, and curator of the Biennale Architettura 2025.""Today, AquaPraça shows how architecture can engage with the future—by responding to climate and engaging with nature rather than resisting it,” Ratti added."AquaPraça lets visitors meet the sea at eye level," said Eric Höweler, co-founder of Höweler + Yoon and a Professor at Harvard University. "Its sloping surfaces and shifting levels embody a delicate equilibrium." "It’s a platform, both literal and figurative, for deepening our collective understanding and experience of sea level rise and the impacts of climate change on global cities and communities," added J. Meejin Yoon, co-founder of Höweler + Yoon and the Gale and Ira Drukier Dean at Cornell University College of Architecture, Art, and Planning, “and seeking collective solutions."Image © Agnese BediniImage © Agnese BediniImage © Agnese BediniImage © Agnese BediniImage © Agnese BediniImage © Agnese BediniLeading cutting-edge steel construction firm Cimolai is now building AquaPraça in northeastern Italy. It will be exhibited on September 4, 2025, at the 19th International Architecture Exhibition of the 2025 Venice Architecture Biennale, before traveling to Brazil. A permanent floating monument in the Amazon, it will be anchored in Belém from November 10–21, 2025, as part of the Italy Pavilion at COP30. It is an architectural example of flexibility and communication in the face of climate change.Project factsProject name: AquaPraçaArchitects: CRA-Carlo Ratti Associati (Coordinator) and Höweler + Yoon ArchitectureTeam MembersCRA-Carlo Ratti Associati: Carlo Ratti (Principal), Andrea Cassi (Principal), Luca Bussolino (Strategy), Gizem Veral (Architect), Sonia Simone (Architect), Rodolfo Siccardi (Senior Architect), Gary di Silvio (Architect/3D Artist), Pasquale Milieri (Architect/3D Artist), Gianluca Zimbardi (Architect/3D Artist); Höweler + Yoon Architecture: J Meejin Yoon (Principal), Eric Höweler (Principal), Asli Baran Grace (Project manager), Shuang Chen (Designer), Selin Sahin (researcher), David Hamm (Technical Advisor) Supporters: Ministero degli Affari Esteri e della Cooperazione Internazionale; Ministero dell’Ambiente e della Sicurezza Energetica; Bloomberg Philanthropies; Cornell University College of Architecture, Art, and PlanningIn collaboration with: Ciheam Bari, the World Bank Group’s Connect4Climate Program Technical Collaborators: Elettra Bordonaro, Argun Paragamyan, and Luciana Martinez, Light Follows Behaviour; Cristiano Bottino, Studio FM; Mykola Murashko, Davide Spina, Julio Ramirez, and Eren Sezer, Maestro Technologies; Corrado Curti, IngeMBP; Luca Infanti, Luca Vian, Simone Andreatta, Filippo Bellomo, and Mario Nattero, CIMOLAI; Roberto Prever and Antonio Vatta, NAOS; Ruben Pescara and Lodovica Bontempelli, NMLex; Domenico Perrotta, DP38.All images courtesy of CRA and Höweler + Yoon Architecture.All exhibition images © Agnese Bedini.> via Carlo Ratti Associati

If you're in search of exciting architecture and design events to explore this June, check out our curated selection of recommendations, including festivals, conferences, and exhibitions taking place throughout the U.S. and abroad.From the roster of ongoing and upcoming events listed on Bustler, here are our featured picks worth checking out.UPCOMING EVENTS