Courtyard House without Second Floor | © Ken’ichi Suzuki Photo Studio In the dense urban fabric of Tokyo’s low-rise residential zones, the idea of a courtyard house often arrives burdened with contradictions. While courtyards promise tranquility, daylight, and spatial openness, they simultaneously risk exposure in neighborhoods where proximity to adjacent buildings is a constant reality. In Courtyard House without Second Floor, Takuro Yamamoto Architects responds to this tension not by enclosing the courtyard at ground level, as is typical in urban Japan, but by lifting it skyward and, in doing so, rethinking the basic assumptions of residential typology. Courtyard House without Second Floor Technical Information Architects1-11: Takuro Yamamoto Architects Location: Tokyo, Japan Area: 84.81 m2 | 912.87 Sq. Ft. Completion Year: 2023 Photographs: © Ken’ichi Suzuki Photo Studio By having a courtyard on the third floor where one does not need to worry about neighbors’ houses, and by making the living room that faces the courtyard the main living space, it is possible to propose a lifestyle of living with the sky. – Takuro Yamamoto Architects Courtyard House without Second Floor Photographs © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio Rethinking the Urban Courtyard Typology In the dense urban fabric of Tokyo’s low-rise residential zones, the idea of a courtyard house often arrives burdened with contradictions. While courtyards promise tranquility, daylight, and spatial openness, they simultaneously risk exposure in neighborhoods where proximity to adjacent buildings is a constant reality. In Courtyard House without Second Floor, Takuro Yamamoto Architects responds to this tension not by enclosing the courtyard at ground level, as is typical in urban Japan, but by lifting it skyward and, in doing so, rethinking the basic assumptions of residential typology. Commissioned by a couple seeking privacy and serenity within a compact urban site, the house proposes a bold inversion of conventional planning. Rather than layering private and public functions vertically, the architects chose to eliminate the second floor entirely, allowing the first and third floors to operate in deliberate dialogue. The result is a residence that privileges visual and environmental connection with the sky while subtly redefining the relationship between floor height, program, and spatial character. Design Intent and Spatial Strategy: Living with the Sky At the core of the project lies a radical conceptual maneuver: displacing the courtyard from the ground to the third floor. This decision emerges from a critique of the traditional urban courtyard model. In this Tokyo neighborhood, where surrounding buildings are often taller and closely spaced, a ground-level courtyard would likely be overlooked, compromising its function as a private outdoor room. High surrounding walls could restore privacy but at the cost of daylight and spatial openness. By relocating the courtyard upward, above the line of sight of nearby houses, the architects enable a new kind of domestic experience centered on openness, air, and sky. The third floor becomes the primary living domain, composed of a light-filled living room that opens directly onto the rooftop courtyard. The courtyard, in turn, becomes not just a spatial device but a living boundary between interior and exterior, structured absence and atmospheric presence. This elevated void also informs the project’s volumetric logic. Since the clients required only a modest floor area, the architects chose to dispense with the intermediate second floor, enabling a clearer division of functions. Communal and spatially expansive activities are raised above, while intimate, enclosed functions occupy the ground level. This unusual strategy reorients how verticality is deployed not as a stacking of programs but as a spatial gradient calibrated to privacy, light, and openness. Materiality, Light, and Spatial Atmosphere Constructed using a rigid wooden frame structure, the house maintains a calm and tactile material palette, allowing spatial relationships and natural light to define its atmosphere. The first floor, often overlooked in vertically stratified dwellings, benefits from a double-height volume due to the absence of the second floor. This inversion creates unexpected generosity in typically constrained spaces, such as the two workrooms facing each other across a slender internal courtyard planted with a Japanese dogwood tree. Light becomes the central agent of spatial modulation. Tall windows on the first-floor drawing in daylight, softening the compactness of the lower level and offering fluctuating lighting conditions throughout the day. Meanwhile, the upper courtyard receives unobstructed sunlight, casting dynamic shadows and amplifying the architectural strategy of turning upward for openness. The spatial sequence thus becomes non-linear, entering into lower, quiet rooms whose expanded vertical dimensions lend them dignity before ascending to a third-floor realm that opens horizontally to the sky. Rather than a classical hierarchy of levels, the house presents a compositional field of contrasts between enclosure and exposure, compression and release, and ground and air. Courtyard House Urban Context Tokyo’s residential neighborhoods are defined not only by density but also by a highly codified regulatory environment. Within the constraints of a Type 1 restricted low-rise residential zone, the architects worked with a site area of 169.78 m², achieving a floor area ratio of 77.87% and a building coverage of just under 50%. These constraints typically lead to compact, stacked dwellings. Yet the Courtyard House without Second Floor resists this default model, proposing a typological deviation that extracts architectural generosity from regulatory discipline instead. Courtyard House without Second Floor Plans Floor Plan | © Takuro Yamamoto Architects Section | © Takuro Yamamoto Architects Elevation | © Takuro Yamamoto Architects Courtyard House without Second Floor Image Gallery About Takuro Yamamoto Architects Credits and Additional Notes Design Team: Takuro Yamamoto, Tomoko Yanagi Structural Design: NCN Corporation / Yuusuke Okamoto Construction: REMOL DESIGN / Hiroyuki Watanabe, Syuhei Watanabe Furniture: Tanaka Kogei / Toshiya Tanaka, Takeshi Minamizawa Structure: Wooden rigid frame Site Area: 169.78 m² Total Floor Area: 132.21 m² 1st Floor Area: 74.09 m² 3rd Floor Area: 58.12 m² Lot Percentage: 49.95% Floor Space Ratio: 77.87%

The AI industry has promised to “disrupt” large parts of society, and you need look no further than the U.S. educational system to see how effectively it’s done that. Education has been “disrupted,” all right. In fact, the disruption is so broad and so shattering that it’s not clear we’re ever going to have a functional society again. Probably the most unfortunate and pathetic snapshot of the current chaos being unfurled on higher education is a recent story by New York magazine that revealed the depths to which AI has already intellectually addled an entire generation of college students. The story, which involves interviews with a host of current undergraduates, is full of anecdotes like the one that involves Chungin “Roy” Lee, a transfer to Columbia University who used ChatGPT to write the personal essay that got him through the door: When he started at Columbia as a sophomore this past September, he didn’t worry much about academics or his GPA. “Most assignments in college are not relevant,” he told me. “They’re hackable by AI, and I just had no interest in doing them.” While other new students fretted over the university’s rigorous core curriculum, described by the school as “intellectually expansive” and “personally transformative,” Lee used AI to breeze through with minimal effort. When I asked him why he had gone through so much trouble to get to an Ivy League university only to off-load all of the learning to a robot, he said, “It’s the best place to meet your co-founder and your wife.” The cynical view of America’s educational system—that it is merely a means by which privileged co-eds can make the right connections, build “social capital,” and get laid—is obviously on full display here. If education isn’t actually about learning anything, and is merely a game for the well-to-do, why not rig that game as quickly, efficiently, and cynically as possible? AI capitalizes on this cynical worldview, exploiting the view-holder and making them stupider while also profiting from them. When you think about the current assault on the educational system, it’s easy to forget how quickly this has all happened. A more recent story from 404 Media shows that the American educational system was largely caught unawares by the deluge of cheating that the AI industry would inspire. After accumulating thousands of pages of school district documents via FOIA requests from around the country, 404’s Jason Koebler found that ChatGPT has “become one of the biggest struggles in American education.” Koebler’s reporting notes that, in the early days of the AI deluge, school districts were courted by “pro-AI consultants” who were known to give presentations that “largely encouraged teachers to use generative AI in their classrooms.” For instance, Koebler writes that the Louisiana Department of Education sent him… …a presentation it said it consulted called “ChatGPT and AI in Education,” made by Holly Clark, the author of The AI Infused Classroom, Ken Shelton, the author of The Promises and Perils of AI in Education, and Matt Miller, the author of AI for Educators. The presentation includes slides that say AI “is like giving a computer a brain so it can learn and make decisions on its own,” note that “it’s time to rethink ‘plagiarism’ and ‘cheating,’” alongside a graph of how students can use AI to help them write essays, “20 ways to use ChatGPT in the classroom,” and “Warning: Going back to writing essays—only in class—can hurt struggling learners and doesn’t get our kids ready for their future.” In other words, AI acolytes seemed to anticipate that the technology would effectively ruin essay-writing and test-taking, and wanted to spin it to present the ruination as mere “transformation”—a new way of doing things—instead of a destructive force that would devastate education. This new way of doing things appears to be corrosive not just to students but also to teachers. Koebler’s investigation shows that the AI lobbyists courted schools by making appeals to instructors, showing them that the likes of ChatGPT would make curriculum-building and assignment-giving that much easier. Now, teachers, too, seem to be taking the easy way out, as a recent New York Times story shows that college professors have been using chatbots to create their lesson plans, just as their students are using them to complete said lesson. The result of all of this is so obvious that it doesn’t really bear repeating, but I guess will anyways: Everybody who uses AI is going to get exponentially stupider, and the stupider they get, the more they’ll need to use AI to be able to do stuff that they were previously able to do with their minds. The tech industry’s subscriber-based, “as-a-service” model is obviously on full display here, except that the subscription will be to intellectual capacity. The more you subscribe, the less “organic” capacity you’ll have. Eventually, companies will be able to pipe AI directly into your brain with the kind of neuro-implants being hawked by Neuralink and Apple. By then, of course, there will be no need for school, as we’ll all just be part of the Borg collective.

When Brooklyn-based designer Virginia Sin launched her home goods brand, SIN, in 2007, it was with a simple mission: to bring warmth and intention into everyday living. Fast forward to today, that mission is scaling up in a big way. At ICFF 2025, SIN will debut its most expansive lighting launch yet – introducing the OBEL and STRIA collections, alongside new additions to its beloved GAMI series. Drawing inspiration from Egyptian obelisks, heritage textiles, and the delicate art of origami, the new releases transform centuries-old craft traditions into contemporary forms that are equal parts sculptural and soulful. It’s a major milestone for the brand, which has built a loyal following for its handmade, coil-building ceramic and mixed material designs. Inspired by the ancient practice of hand-weaving, the STRIA collection evokes the intentionality, care, and process behind heritage textiles. This series of sculptural wall sconces reinterprets the soft striations of fabric into rhythmic ceramic forms that beautifully filter light. STRIA also celebrates the many connections inherent in both ceramics and textile work – between material and maker, form and function, earth and home. Handmade in SIN’s Brooklyn studio, the sconces are fully ADA-compliant and designed with high-end residential and hospitality areas in mind, providing designers with a way to shape spaces that feel layered, meaningful, and inviting. Stria 3 Sconce in Bone Stria 3 Sconce in Obsidian Stria 5 Sconce in Graphite Stria 5 Sconce in Bone Stria 4 Sconce in Obsidian Stria 4 Sconce in Bone Obel Osen Table Lamps With the OBEL collection, SIN turns to the monumental geometry of hand-hewn Egyptian obelisks, reimagining these ancient forms as sculptural table lamps. Each piece is grounded and architectural, crafted through a slow, deliberate hand-building process that honors the raw beauty of clay. This also marks the first time SIN introduces shaded designs, creating a gentle contrast between soft and hard materials. By bringing history into the contemporary present, OBEL offers lighting that feels both timeless and striking, anchoring spaces with a quiet sense of presence and reverence. Obel Osen Table Lamp in Obsidian Obel Osen Table Lamp in Obsidian Obel Gio Table Lamp in Bone Obel Gio Table Lamp in Sand Obel Gio Table Lamp in Obsidian The GAMI collection returns this season with an expanded lineup of pendants, flush mounts, and sconces that continue to explore the balance between fluidity and structure. Inspired by the art of origami, each piece is crafted from a single sheet of clay, folded into sculptural forms that feel both delicate and solid. With its extended range, GAMI brings a fresh versatility to both residential and hospitality spaces, offering a poetic way to express light, form, and shadow. Gami Shayd Pendant in Sand Gami Shayd Pendant in Sand With OBEL, STRIA, and GAMI, SIN continues to push the boundaries of clay, drawing on storied traditions to create collections that are as visually striking as they are meaningful. Don’t miss the chance to experience these sculptural designs in person at ICFF 2025 and see how timeless craft and contemporary design come together in ceramic. Gami Shun Flush Mount in Sand Gami Double Shai Sconce in Sand Gami Double Shai Sconce in Sand Gami Double Shai Sconce in Sand To learn more about the OBEL, STRIA, and GAMI collections, visit virginiasin.com. Photography courtesy of Virginia Sin and SIN.

Image credit: West Vancouver Art Museum West Coast Modern Week, an annual celebration of West Coast Modernism, a distinct architectural style with deep roots in West Vancouver, will be returning this summer. Presented by the West Vancouver Art Museum, West Coast Modern Week will include a series of events including talks and a home tour offering access to local, architecturally significant homes. The following is a list of events taking place during the week-long celebration. West Coast Modern Week Launch Party This fundraising party will take place on July 8, and will celebrate the launch of West Coast Modern Week. The evening will feature a live DJ, wine and refreshments.   Walking Tours: The Facets of Modernism This walking tour will focus on the vibrant—and potentially endangered—Mid-Century Modern buildings located in the heart of Ambleside, West Vancouver. Led by experienced guides, the tour will discuss the elements and features of the Mid-Century Modern style and examine how the hallmarks of this period were incorporated into both the interiors and exteriors of local Mid-Century Modern architecture.   Talk: John Patkau: Material Operations Pre-eminent architect John Patkau joins the West Coast Modern League, with the West Vancouver Art Museum and The Polygon Gallery, for a talk exploring the creation of architecture and design through unconventional material practice.   Film Screening: Arthur Erickson: Beauty Between the Lines | Annual Barry Downs Lecture Series: The Architecture of Encounter, with Dr. Jeff Derksen The film explores the life and work of architect Arthur Erickson. With intimate interviews, unseen archival footage, and an exploration of his architectural masterpieces, the film weaves together the complexities of Erickson’s personal and professional life. Using the film, Arthur Erickson: Beauty Between the Lines, Dr. Jeff Derksen’s talk approaches Erickson’s architecture through the concept of the encounter. Informed by his travels as an architectural student, and shaped by an optimistic 1960s moment in Canadian culture, Erickson’s expansive imagination sought to bring together architectural elements from many cultures and to structure his buildings as spaces of encounter.   19th Annual West Coast Modern Home Tour  This year’s tour will feature the Taylor Residence, designed by Daniel Evan White in 1983, the Rayer Residence, designed by Barry Downs and Fred Hollingsworth in 1964, the Forrest-Baker Residence, designed by Ron Thom and Dick Mann in 1962, the Montiverdi Estates, designed by Arthur Erickson between 1979 and 1982 and the Eastwood-Seth Residence, designed by CBK Van Norman in 1954.   West Coast Modern Week After Party The celebration will feature wine, refreshments and ocean views from Eagle Harbour Yacht Club.   West Coast Modern Week Concert: Jillian Lebeck Trio The concert will feature Jillian Lebeck on grand piano, Maafu Keteca on saxophone, and Kody Buchart on bass. This trio will explore jazz from the Great American Songbook, with a few original compositions thrown in. West Coast Modern Week 2025 will take place from July 8 to 13, 2025. For more information and to view the full schedule, click here. The post West Coast Modern Week returns to West Vancouver this summer appeared first on Canadian Architect.

The Canopy Pavilion by the Canal / AESEU Architectural Technology and Art studioSave this picture!© Timeraw StudioCommunity Center•Tai Xing Shi, China Architects: AESEU Architectural Technology and Art studio Area Area of this architecture project Area:  2400 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Timeraw Studio More SpecsLess Specs Save this picture! Urban Regeneration by the Canal - Taixing, situated in the south-central region of Jiangsu Province, stands as the convergence of Huai and Wu cultures. Established in the first year of Shengyuan during the Southern Tang Dynasty, it is a millennium-old city with a rich history. Historically, Taixing County was characterized by an intricate network of waterways, thriving alongside and in harmony with the water, and its fortified walls were constructed in the shape of a turtle's shell. Encircling the city were two moats, both inside and outside the walls, with several winding watercourses resembling snakes in between, forming a pattern reminiscent of the Black Tortoise and White Snake, commonly known as the " City laid out in the shape of a turtle and snake." In recent times, with the city's growth, a new urban layout gradually emerged to the north and east of the old city, intersected by the Rutai Canal and Qiangxi River. Notably, the Rutai Canal, linking the Yangtze River in the west and the Yellow Sea in the east, has served as a pivotal regional waterway spanning Rugao and Taixing since ancient times.Save this picture!In 2023, Taixing City embarked on the "Double Water Nourishing City" supporting facilities project, utilizing the Rutai Canal and Qiangxi River as the foundation. The project involves renovating the disorganized factories, wharves, and shacks along the rivers to create a riverside scenic zone for leisure activities. This scenic zone encompasses numerous cultural squares, parks, and small ancillary garden buildings. The question arises: how can these unused buildings be put to good use? On the one hand, they can enhance services for citizens' riverside leisure activities; on the other hand, the operational revenue generated can alleviate the maintenance costs of public green spaces. This represents the trend towards operational management of urban assets against the backdrop of urban renewal. Consequently, Taixing City has decided to revamp and repurpose six idle ancillary buildings scattered along the parks by the two rivers, endowing them with commercial attributes to leverage their footfall-drawing potential and infuse more vitality into the riverside scenic zone.Save this picture!The value of architectural assets and waterside living - In the northwest direction of the north gate of the old county town, there lies a junction formed by the Rutai Canal and other waterways. Following partial rerouting of the canal in modern times, the construction of urban highway bridges in the vicinity and the development of high-rise residential areas have enclosed this area, transforming it into a relatively spacious waterfront spot within the community. The site features a children's playground beloved by residents, making it a must-visit destination for citizens taking strolls and engaging in fitness activities along the Rutai Canal.Save this picture!The site originally housed two independent two-story buildings with concrete frame structures. One building features a V-shaped floor plan, while the other boasts a zigzag floor plan. Together, these two buildings, along with the river channel, enclose an approximately triangular plot of land. To address the elevation differences within the site, stairs and flower beds have been incorporated into the current design.Save this picture!At the onset of designing this project, the owner's requirement was to impart operational capabilities to these idle urban assets. Often, this is mistakenly interpreted in isolation as necessitating a "tailor-made" design based solely on operational demands. The business needs appear to be prioritized in the design brief, with a tendency to conflate building renovation and interior refurbishment, which represents an all-too-common shortcut in urban renewal. Building renewal constitutes a vital component of urban revitalization: it aids in realigning the site's traffic and spatial connections with the city through renovation and reconstruction, and employs functional integration to reintegrate the building into the city's fabric. Additionally, renovation extends the lifecycle of buildings and enhances their adaptability to a broader range of business types. Furthermore, it delves deeper into the site's unique attributes and leverages them to boost the building's appeal.Save this picture!To capture the cultural and geographical essence of a site, one must revert to the perspective of the city. In this water-laden town, water serves not merely as a geographical feature but also as a cultural emblem deeply ingrained in the fabric of daily life. The teahouses lining the canal bustle with activity, offering a pot of tea, a plate of steamed silken tofu, a basket of steamed pork buns, and a bowl of fish noodle soup. Old tea enthusiasts wander over to the riverside teahouses with their enamel mugs, where the aroma of steaming Xuanbao small wontons blends with the sesame fragrance of Huangqiao sesame cakes, wafting towards the river's heart. They sip on "Langli tea" brewed with canal water while watching barges glide by, leaving ripples in their wake. These are taste memories nurtured by the canal.The clanging of washing sticks at the riverbank, the tapping of chess pieces under the eaves of riverside houses; children leaning over railings to count passing sandboats, morning joggers' silhouettes mirrored in the shimmering waves, elderly couples taking a stroll and pausing at the flood embankment, pointing to the newly erected buildings across the river and reminiscing about the ferry pier of yesteryears. These scenes and people collectively paint a unique and vibrant picture of life along the waterfront in Taixing.Hence, the primary objective of renovating this site is to honor and perpetuate this vibrant atmosphere, providing a comfortable and inviting environment for people to linger and gather. By fostering conditions conducive to meeting the diverse needs of citizens, the potential value of the architecture can be fully realized.Save this picture!Revitalization strategy - With these considerations in mind, let's revisit the original site and buildings. Serving as administrative offices, each building boasts a modest area and features just one staircase inside. The elaborate decoration of the building facades actually obstructs the indoor view of the canal. The outdoor area between the two buildings, segmented by varying heights, struggles to serve as an effective venue for events. These are the aspects of the buildings that necessitate renovation and upgrading.Save this picture!Save this picture!Save this picture!More crucially, the site requires a powerful spatial configuration to redefine and distinguish this area, establishing it as a significant destination along the riverside scenic corridor. We define this spatial configuration as a prominent, large-scale open area, aimed at strengthening the connectivity between the site and the public spaces of adjacent blocks. By analyzing the types of traditional public spaces along the canal, we discovered that the awning form exhibits strong applicability. Both the boat awning and the market awning on the shore exhibit a form that is both sheltered and open. This convenient and easily maintainable semi-outdoor public space can effectively adapt to the complex surrounding environment, while encouraging the emergence of temporary and diverse public activities. It is a common spatial outcome nurtured by canal culture. Furthermore, utilizing the roofs of existing buildings to create more platforms that offer both accessibility and river views is undoubtedly a morphological projection of the site's characteristics onto the architectural form, and also facilitates the creation of favorable conditions for shaping outdoor commercial spaces.Save this picture!The final design employs a large canopy to complement the originally fragmented site. This canopy extends over the triangular site and portions of the V-shaped building's rooftop, creating a flat and expansive area between the two structures, akin to a waterfront urban stage. The height difference of the site is seamlessly integrated into the surrounding stepped seating areas. The V-shaped building's rooftop achieves a more direct connection to the ground through the addition of stairs and setback terraces. Likewise, the newly added columnar staircase adjacent to the building on the northern side of the site becomes a dynamic element in the space, directing individuals to the rooftop platform of the L-shaped building. Besides providing a vast shaded area for activities, the canopy alleviates the oppressive feeling imparted by the surrounding dense high-rise residential buildings. As people move under the canopy, their gaze is directed towards the canal and the ships navigating through it, restoring the appropriate scale of waterside life. The concave shape in the middle of the canopy collects rainwater from the rooftop and directs it to a reserved oval drain below through a cantilevered stainless steel spout, creating a "dragon spitting water" landscape.Save this picture!Technical measures - After assessing the concrete frame structure of the existing building, structural reinforcement was carried out on the foundation, beams, slabs, and columns. Transparent peripheral protective structures, such as glass curtain walls, were reintroduced. The horizontally extended white aluminum panels suggest a layered, accessible roof that steps back progressively. For the large canopy spanning approximately 1,000 square meters, a combination of curved grid glued bamboo-steel structure and membrane structure was selected through technical comparison. The basic configuration of the roof consists of several full-length square steel beams and V-shaped columns. The grid units composed of engineered bamboo members facilitate the creation of a gradual curved surface.Save this picture!Save this picture!The curved mesh glued bamboo-steel structure imbues this enclosed space with structural expression and illumination, emphasizing the openness and airiness of the structure to foster a relaxed and joyful atmosphere. This stands in contrast to the confined interior of buildings, suggesting the equitable use of public spaces and leveraging technical expression to promote community interaction and sharing.Save this picture!Community space - Benefiting from the maturity of the commercial and residential districts surrounding the project, as well as its strategic location adjacent to water, we defined the building as Taixing Teahouse—a venue that embodies the local morning tea culture of Taixing during the initial project planning stage. This decision was made after a comprehensive assessment of various factors, including project scale, surrounding traffic conditions, and potential impacts on nearby residents. Leveraging the separation of two buildings, we designated separate areas for the morning tea hall and private dining rooms. In the morning tea area, the middle section of the V-shaped layout serves as an open kitchen, showcasing the production of morning tea as an intangible cultural heritage.Upon completion, this revitalized venue has garnered immense popularity among Taixing residents. The riverside morning tea hall is often fully booked, while private dining rooms offering a panoramic view of the canal have become a favorite gathering spot for families and friends. The small plaza underneath the canopy is utilized by residents at various times of the day and has also hosted numerous cultural events in Taixing. Additionally, the semi-outdoor terrace on the second floor and the rooftop terrace on the third floor under the canopy have transformed into outdoor spaces for leisure bars. Evidently, the transformed space has transcended its original singular function, and its aesthetic appeal has been acknowledged through daily use by residents. It has emerged as a neighborhood hub in the contemporary waterfront living environment, seamlessly integrating culture, nature, and even spiritual and emotional sustenance.Save this picture!Conclusion - In the process of renewing urban idle buildings and neglected spaces leftover from the incremental development era, the approach of merely pursuing commercial value by forcibly integrating untimely commercial format often proves unsustainable. The crucial solution lies in reverting to the essence of the site, by examining the relationship between the architecture and the urban fabric, deeply exploring the site's potential, and reestablishing its public character. Only when the space genuinely transforms into a delightful venue for public interaction and fosters an organic connection with the city can commercial vitality naturally emerge. This incremental renewal strategy, which prioritizes public use over commercial gain, not only respects the natural evolution of urban spaces but also achieves a harmonious coexistence between public and commercial values. It stands to become a pivotal approach in urban renewal.Save this picture! Project gallerySee allShow less Project locationAddress:Tai Xing Shi, ChinaLocation to be used only as a reference. It could indicate city/country but not exact address.About this office MaterialsMaterials and TagsPublished on May 16, 2025Cite: "The Canopy Pavilion by the Canal / AESEU Architectural Technology and Art studio" 16 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030080/the-canopy-pavilion-by-the-canal-aeseu-architectural-technology-and-art-studio&gt ISSN 0719-8884

The Mies Crown Hall Americas Prize (MCHAP) awarded the Thaden School in its fifth iteration. The 30-acre middle and high school campus in Bentonville, Arkansas, was a collective design effort by Marlon Blackwell Architects, EskewDumezRipple, and Andropogon Associates. The project pulls directly from the rural vernacular of the Ozark region. Thaden School beat out steep competition for the prize, including an aquarium in Mexico by Tatiana Bilbao ESTUDIO, a veterinary office in Argentina, an expansive park in Mexico, and an old pumphouse that was turned into apartments in Canada. The biennial MCHAP prize “acknowledges the best built works of architecture in the Americas.” It is awarded by the Illinois Institute of Technology (IIT) College of Architecture and announced at a benefit held in Crown Hall, the Ludwig Mies van der Rohe–designed building on the IIT campus. Over 250 submissions were received for nomination to the 2025 Americas Prize. These were whittled down to the five finalists. As in past years, the jury visited each of the finalist projects and met with the designers and clients before settling on the Thaden School as the winning project. All of the new campus buildings are connected with the landscape. (Tim Hursley) The 2025 MCHAP Americas Prize jury was headed by industry professionals, hailing from across the Americas. It was chaired by Maurice Cox, former Commissioner of the City of Chicago Department of Planning and Development. Cox was joined by Giovanna Borasi, director, Canadian Centre for Architecture; Gregg Pasquarelli, founding principal, SHoP Architects; Mauricio Rocha, founder, Taller | Mauricio Rocha, and the 2023 Americas Prize recipient; and Sofia von Ellrichshausen, founding partner of Chilean firm Pezo von Ellrichshausen. MCHAP Director Dirk Denison remarked about visiting the projects and complimented each of the five finalists. “Traveling together, I witnessed firsthand the incredible insights each jury member brought to these five standard-setting works,” he said. “All the finalists emerged organically from needs and demands of their immediate contexts, with ingenuity and a synergy of creativity between the client and designer—a synergy that is the hallmark of so many MCHAP finalists.” The cafeteria at Thaden School is one of the many spaces faced with a large window overlooking the grassy campus. (Tim Hursley) Porches and screened passageways are among many architectural features that recall local vernacular. (Tim Hursley) The jury praised Thaden School for its rootedness to site and context. Connection with the outdoors is a core part of the school’s curriculum; the design team tapped into this with gabled structures that recall barn buildings, through screened porches, and attention to the landscape and grounds. “The building’s character shapes a campus steeped in the rural culture of its place—the barn, the porch, and the long and low farm buildings are artfully assembled into a new academical village that powerfully interprets the pedagogical mission of ‘youth learning by doing,’” the jury collectively shared in a statement. The campus comprises a number of buildings, each with a unique program, connected to one another via series of pathways. Among these is the Home Building, where communal spaces were located: the dining hall, library, bookstore, and lounges. The buildings have low-lying profiles reminiscent of agricultural buildings as well as distinct, angular roof shapes as seen on the Bike Barn, the Arts and Administration Building, Performance Building, and others. Open-air passageways, garage-style doors, and large spans of glazing cement the connection with the rural surroundings. The low-lying buildings with gabled rooflines recall traditional barn architecture. (Tim Hursley) “The collaborative effort of the design teams read through this powerful composition,” the jury commented. “Space is both contained and open-ended, inviting the public to enter into the center of student life. The threshold between outdoor and indoor is made of outward-facing porches, covered passageways, and outdoor rooms. This flexible composition of the campus encourages learning, recreation, farming, and civic gathering.” Several of the Thaden School buildings have been recognized in AN’s Best of Design awards program in the education category. In 2021 EskewDumezRipple received recognition for its work on the Home Building. Marlon Blackwell was similarly applauded in 2020 for its design for Bike Barn, and then again in 2024 for the Performance Building. Last year, Taller | Mauricio Rocha won the MCHAP for Anahuacalli Museum. Other past recipients include, in 2014, Grace Farms by SANAA in New Canaan, Connecticut.

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Zaha Hadid Architects has unveiled a new mixed-use development that features spacious balconies inspired by nature on Al Marjan Island in Ras Al Khaimah, United Arab Emirates.Called Oystra, the 128,000 square meter development consists of 950 apartments with one to four bedrooms, duplexes, penthouses, and waterfront villas. The seaside complex offers a wealth of dining, retail, and recreational options.Image © RedvertexWith a population expected to increase by 55% by 2030, Ras Al Khaimah is one of the UAE's fastest-growing emirates, necessitating the construction of an extra 45,000 dwellings to accommodate future demand, as Zaha Hadid Architects explained. The tourism industry in Ras Al Khaimah is also expanding at an unprecedented rate; by 2030, the emirate is expected to receive 3.5 million visitors annually, up from 100,000 in 2013, the firm added.Al Marjan Island's infrastructure is being developed as a top destination in the United Arab Emirates. The island's 23 kilometers of shoreline, which includes 7.8 kilometers of white sand beaches, extend 4.5 kilometers into the Arabian Sea. The island, which has parks, marinas, spa centers, and entertainment venues, is located 45 minutes from Dubai International Airport and 25 minutes from Ras Al Khaimah Airport.Image © RedvertexThe development's flowing geometries, which include expansive balconies and terraces sculpted to mimic the undulating patterns shaped by waves in sand, were designed by Zaha Hadid Architects to provide over 75% of its units with unhindered views of the sea. These balconies protect the interiors from direct sunshine while acting as smooth additions to each apartment's living area.Within its 42,000 square meter plot, which includes landscaped gardens, courtyards, swimming pools, and a beach club with a view of the bay, are Oystra's sculptural 20-story waterfront towers. The 360° infinity pool and rooftop restaurant offer expansive views of the Arabian Sea and Al Marjan Island.Image © RedvertexThrough this protected waterfront path, which is maintained cool by the predominant north-westerly winds that blow inland from the sea, inhabitants have direct access to the tree-lined coastal promenade of Al Marjan Island.Digital mapping analysis optimized the design's external solar shade and improved natural ventilation, while environmental simulations maximized efficiencies in site conditions, structure, and orientation. In addition to an insulating space between the building envelope and the project's façades that get direct sunlight, the development will incorporate seawater-based cooling. In the arid climate of Ras Al Khaimah, these tactics will improve interior comfort while lowering the energy requirement for cooling.Image © Redvertex"Our collaboration with Richmind is the result of shared ambition and creative dialogue. Oystra’s sculptural design is inspired by the natural energies of the sea and the sky, responding to its environment with a sense of dynamism and openness," said Christos Passas, Director at Zaha Hadid Architects."Oystra reflects our passion for visionary design, lifestyle innovation, and a bold approach to shaping spaces that inspire and endure through time. Working with Zaha Hadid Architects has been both a privilege and a purposeful choice. We share a vision rooted in bold thinking, design excellence, and a deep commitment to originality," said Mohammad Rafiee, Chief Executive Officer of Richmind. Image © Redvertex"Al Marjan has become a canvas for exceptional developments, and Oystra is a strong addition to Ras Al Khaimah’s narrative, reflecting the forward-thinking developments that align perfectly with Al Marjan Island's ambition and vision," said Abdulla Al Abdouli, Chief Executive Officer of Marjan.Image © PyxidZaha Hadid Architects recently completed a spaceship-like science and technology museum in Shenzhen. In addition, the firm unveiled design for a new cityzen tower inspired by Tbilisi's rolling hills in Georgia. Project factsClient: RichmindArchitect: Zaha Hadid Architects (ZHA)Design: Patrik Schumacher, Christos PassasZHA Project Director: Christos PassasZHA Project Associates: Mei-Ling Lin, Joao Bravo Da Costa, Eider FernandezZHA Project Architects: Sattor Jabbor, Branko Svarcer, Kourosh Asgar IraniZHA Project Leads: Ben Kikkawa, Ekaterina Smirnova, Gaganjit Singh, Anri Gyoloyan, Nassim Eshaghi, Maria BystrovaZHA Project Team: Dahyun Kim, Elizabeth Konstantinidou, Shizhao Yang, Mirella Dourambei, Abdullah Ummer Farook, Ali Rais, Avneesh Rathor, Theodoros Tamvakis, Danae Mavridi, Canon LeeZHA Competition Project Director: Christos PassasZHA Competition Associates: Joao Bravo Da Costa, Mei-Ling LinZHA Competition Project Architects: Ben Kikkawa, Maria Bystrova,ZHA Competition Project Leads: Dieter Matuschke, Akis Polykandriotis, Anri Gyoloyan, Avneesh RathorZHA Competition Team: Abdullah Ummer Farook, Ali Rais, Dahyun Kim, Shizhao Yang, Mirella Dourambei, Theodoros Tamvakis, Gaganjit SinghZHA BIM Team: David Fogliano, Michael O’Reilly, Muaz MasriZHA Environment & Sustainability Team: Carlos Bausa, Bahaa Alnassrallah, Shibani Choudhury, Aleksander Mastalski, Aditya Ambare, Disha Shetty, Abhilash Menon, Jing XuConsultantsExecutive Architect: Dewan Architects and Engineers, DubaiFaçade Engineering: Koltay FacadesM&E Engineering: Samadhin AssociatesTransport Consultant: RMC, DubaiFire Engineer: SHE, DubaiLandscape Consultant: Cracknell LandscapesLighting Design: FPOVInterior Design: HBA, LondonSignage and Wayfinding: TDCWaste Management: Climatize, DubaiThe top image in the article © MIR.> via Zaha Hadid Architects

Senior Cinematic ArtistActivisionWarszawa 00-838 Poland1 hour agoApplyJob Title:Senior Cinematic ArtistRequisition ID:R024348Job Description:Position available in Warsaw, Poland or Malmö, Sweden (On-Site Hybrid)Elsewhere Entertainment is looking for a Senior Cinematic Artist to join the development of a new IP.Feed your creativity while driving the development of our game world andstory! Collaborate with our highly skilled team to build somethinginnovative, exhilarating, and expansively entertaining.As a member of the narrative department, you’ll be responsible for realizing and integrating the game's cinematic events and dialogue sequences helping create memorable moments for an epic player driven story. You will also work in constant collaboration with the game/level design team to optimize the execution of game mechanics and properly orient the player in the world.As a member of the project, you’ll help take the studio and our game from great to even better—with a focus on inclusivity, mutual respect (for ourselves and our players), thoughtfulness, empathy, professionalism, and collaboration.You’ll help us by…Participate in developing assets for narrative and script events (gameplay, audio, art) as well as implementation and debugging tasks. Be proficient in narrative tools and systemsWork with the design team in setting up cameras, timelines and events to create the game’s player experienceSupervise or contribute to directing and recording sessions (motion capture, voiceover and performance capture)Supervise certain elements of the narration helping writers and narrative designers improve the storytelling of a sequence (script, voiceover and presentation)Ensure the visibility of game elements in improving the players’ experience of the world.Plan and coordinate cinematic design activitiesIncorporate cinematic and script events into the game engine.You’re awesome because you have…Proven experience (8 years +) designing cinematic and dialogue sequencesTechnical fluency using cinematic and game engine production toolsIn-depth knowledge of the theoretical aspect of camera systems (direction and gameplay)Resourceful, proactive and assertive, you are a good motivatorWith a methodical approach to duties and objectives, you can adhere to production schedulesBonus points for…Familiarity with Premiere and After EffectsEnjoyment of playing a variety of video game genres and titlesFamiliar with cinematics and dialogue presentation methods for narrative driven AAA games.Not sure you meet all the qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! At Activision, we are committed to creating a diverse and inclusive environment and strongly encourage you to apply.Our WorldAt Activision, we strive to create the most iconic brands in gaming and entertainment. We’re driven by our mission to deliver unrivaled gaming experiences for the world to enjoy, together. We are home to some of the most beloved entertainment franchises including Call of Duty®, Crash Bandicoot™, Tony Hawk’s™ Pro Skater™, and Guitar Hero®. As a leading worldwide developer, publisher and distributor of interactive entertainment and products, our “press start” is simple: delight hundreds of millions of players around the world with innovative, fun, thrilling, and engaging entertainment experiences.We’re not just looking back at our decades-long legacy; we’re forging ahead to keep advancing gameplay with some of the most popular titles and sophisticated technology in the world. We have bold ambitions to create the most inclusive company as we know our success comes from the passionate, creative, and diverse teams within our organization.We’re in the business of delivering fun and unforgettable entertainment for our player community to enjoy. And our future opportunities have never been greater — this could be your opportunity to level up.Ready to Activate Your Future?#elsewhere Create Your Profile — Game companies can contact you with their relevant job openings. Apply

Rejected by Museums Around the World, This New Art Exhibition Explores the Historical Roots of the Term ‘Homosexual’ “The First Homosexuals: The Birth of a New Identity, 1869-1939” is a sprawling collection of more than 300 works at Chicago’s Wrightwood 659 gallery An 1890 photo by Alice Austen titled The Darned Club Collection of Historic Richmond Town / Wrightwood 659 In 1868, the Hungarian writer and activist Karl Maria Kertbeny coined the terms “homosexual” and “heterosexual” in a letter to his friend, the pioneering sexologist Karl Heinrich Ulrichs. Kertbeny was arguing against a German anti-sodomy law that made sexual contact between members of the same gender punishable by up to four years in prison. He reasoned that humans had innate desires—some homosexual, some heterosexual—that could not be regulated by the state. Although Kertbeny had just used the terms for what scholars believe is the first time, the language was already charged with the same imprecision that exists today. An expansive label like “homosexual” could describe actions; desires; and, crucially, an entire identity. The artistic and social “sea change” that accompanied the birth of the term “homosexual” is the subject of “The First Homosexuals: The Birth of a New Identity, 1869-1939,” a sprawling, ambitious exhibition at the Wrightwood 659 gallery in Chicago’s Lincoln Park neighborhood. It is on view until July 26.The scale and scope of the exhibition is staggering. It gathers more than 300 works by 125-plus artists from 40 countries, on loan from private collections and major institutions like the Metropolitan Museum of Art and the Musée d’Orsay. “It is the kind of exhibition that a massive institution like the Met regularly pulls off,” curator Jonathan D. Katz, an art historian at the University of Pennsylvania, tells the Chicago Sun-Times’ Courtney Kueppers. “But for a small, fairly new institution like Wrightwood 659 to pull off, [it] is kind of extraordinary.” “Before the Binary,” the first of eight sections in the exhibition, begins decades before Kertbeny’s letter. Its focus is on longstanding cultural, sexual and romantic practices that modern language occludes. Dance to the Berdash is an 1835-1837 oil painting by George Catlin, a 19th-century artist known for his paintings of Indigenous life and the American frontier. It depicts a real feast Catlin witnessed in which members of the Sac and Fox tribe paid tribute to a Two-Spirit leader, a person who was born male but who dressed, performed and lived as a woman. Non-Indigenous observers applied the term “berdache,” now considered derogatory, to identities and practices they considered foreign. Catlin’s painting depicts what language could not capture. Dance to the Berdash, George Catlin, 1835-1837 Smithsonian American Art Museum “Art can tell this story uniquely well,” Katz says in a statement. “While written narratives must necessarily use specialized words to describe ideas, visual imagery is more elastic, allowing for coincident layers of meaning.” More modern works by well-known artists like Jean Cocteau, the Lumière Brothers, Gustave Moreau, John Singer Sargent, Egon Schiele and Henri de Toulouse-Lautrec also convey those nuances with tact across the seven other sections of the exhibition. In “Portraits,” Katz and associate curator Johnny Willis assemble a 1907 portrait of Gertrude Stein, the only full-size portrait of Oscar Wilde painted in his lifetime and Thomas Eakins’ celebrated oil portrait of Walt Whitman. Some portraits explore sexuality more overtly than others, but all can be read in the spirit of the exhibition. Where do actions become identity? Do modern audiences have the right to retroactively apply labels to celebrated past figures who may have never embraced them? Another section of the show explores relationships through the photography of Alice Austen, a Victorian-era photographer in New York City who trained her lens on women’s lives. Still others examine how nude portraits have shifted with changing understandings of sexuality and how same-sex desire converged with colonialism and resistance. Gertrude Stein, Félix Vallotton, 1907 The Baltimore Museum of Art / Mitro Hood / Wrightwood 569 Wrightwood 659’s ability to land an exhibition like “The First Homosexuals” is in part due to its controversial subject matter. “Queer art is the third rail of the art realm,” Katz tells Block Club Chicago’s Web Behrens. “One very highly placed museum director told me, ‘This is exactly the exhibition I want to show, and therefore exactly the exhibition I can’t.’” Katz estimates that between 80 and 90 percent of the museums and art collectors he asked to contribute art to the exhibition rejected his requests, per Fast Company’s Grace Snelling. Later, nearly all of the museums Katz approached to host the multimillion dollar exhibition declined, even when he offered it to them for free, the Sun-Times reports. Besides Wrightwood 659, the only museum to express interest was the Kunstmuseum Basel in Switzerland, which is in talks to bring part of the show to Art Basel 2026. Despite enduring prejudice toward queer art, the exhibition at Wrightwood 659 has been a roaring success, with the gallery selling more advance tickets to it than any other show in its seven-year history. The final piece in the exhibition is an archway full of photographs of the Nazis burning thousands of books at Berlin’s Institute for Sexual Science, the first sexology research center in the world, in 1933. “The idea that everything that flowers over the course of the exhibition can so quickly be destroyed, is, of course, a metaphor for where we are now,” Katz tells Fast Company. While Kertbeny’s terms became twisted into means of isolating “homosexuals” from the rest of the population, as the persecution and mass murder of queer people during World War II exemplifies on a horrific scale, the exhibition strikes a unified note about belonging, even in the midst of confusion and fear. “We wanted to show how art offered numerous positions along that spectrum, positions that literally had no words to describe them,” Katz tells Block Club. “Art could figure what language could not.” “The First Homosexuals: The Birth of a New Identity, 1869-1939” is on view at the Wrightwood 659 in Chicago through July 26. Get the latest stories in your inbox every weekday.

In the heart of Tokyo’s Shibuya district – between the youthful buzz of Harajuku and the neon blur of the Shibuya Scramble – TRUNK(HOTEL) CAT STREET offers a boutique hospitality experience that’s as much about feeling good as it is about doing good. Opened in 2017 with just 15 guest rooms, the hotel redefines what it means to travel consciously, blurring the lines between luxury, sustainability, and local connection. Photo: Courtesy of TRUNK(HOTEL) CAT STREET From the moment you step off the street and pass under the limbs of a towering zelkova tree at the entrance, it’s clear this isn’t your typical Tokyo stay. The building’s charcoal facade and minimalist geometry hide an interior that feels simultaneously intimate and expansive. Furniture made by Japanese artisans, recycled materials given new life, and curated artworks that rotate alongside permanent installations tell a story of thoughtful craftsmanship and quiet, but impactful, environmental stewardship. From the shampoo in your bathroom to the recycled bikes parked out front, the hotel’s guiding philosophy is embedded into everything you see. Photo: Courtesy of TRUNK(HOTEL) CAT STREET Designed to immerse guests in what the brand calls “socializing” and “localization,” this stay layers meaning into every detail. The interiors, conceived by Jamo Associates, with architectural design by MOUNT FUJI ARCHITECTS STUDIO, reflect what they call “Tokyo Design” – a thoughtful blend of traditional craftsmanship and contemporary minimalism. Each guest room is a singular expression, furnished with custom pieces and local artwork that honor both the heritage and future of Japanese design. No two rooms are the same, so every visit feels like a unique experience. Amenities and materials used throughout the rooms are sourced from or inspired by Tokyo itself – including iron factory remnants turned into hangers and sanitary boxes – adding a subtle but powerful sense of narrative to the space. This ethos extends to the minibar, where you’ll find hyper-local treats like Shibuya Beer and Shibuya Cola (a fizzy ode to the iconic crossing down the road), and the communal lounge space, which doubles as a gallery-meets-living room. A nod to locality continues into the konbini-concept shop next door, TRUNK(STORE), where visitors can pick up the same mugs and tableware used in the hotel – each piece made in collaboration with the Green Life 21 Project, using crushed and repurposed dishware from restaurants and schools across Japan. When hunger strikes, the hotel’s on-site restaurant offers a full sensory dining experience that feels more like a house party than a formal affair. TRUNK (KITCHEN) leans into Japanese-Western fusion, with open-kitchen seating and a private chef’s table where you can dine just steps away from the action. TRUNK’s version of hospitality goes deeper than soft sheets and sleek surfaces – it invites you to consider how the spaces we inhabit reflect the neighborhoods they’re part of, and how the smallest acts (like choosing local snacks or sipping from a repurposed ceramic mug) can contribute to something larger. Photo: Courtesy of TRUNK(HOTEL) CAT STREET What sets this hotel apart isn’t just its style (though that certainly helps), but its ability to make staying in Tokyo feel like connecting – to a neighborhood, to a culture, to an ethos. Photo: Courtesy of TRUNK(HOTEL) CAT STREET TRUNK(HOTEL) CAT STREET is less about the spectacle of travel and more about the subtleties – the details that make a stay feel personal, purposeful, and rooted. It’s a rare place where architecture, culture, and social responsibility coexist in harmony, right in the middle of one of the busiest cities in the world. Photo: Courtesy of TRUNK(HOTEL) CAT STREET Photo: Courtesy of TRUNK(HOTEL) CAT STREET What: TRUNK(HOTEL) CAT STREET Where: 5-31 Jingumae Shibuya-ku Tokyo 150-0001 Japan How much: Rooms start at approximately $422 per night Design draws: This 15-room boutique hotel offers a quiet retreat in the bustling area of Shibuya. The interiors, enhanced by rotating art installations and locally-sourced, eco-conscious materials, create a serene, modern sanctuary that celebrates both Tokyo’s vibrant culture and its commitment to environmental stewardship. Book it: TRUNK(HOTEL) CAT STREET Photography by Maivy Tran, unless otherwise noted.