html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Faculté de l'aménagement at the Université de Montréal is pleased to announce the launch of an international, multidisciplinary and anonymous ideas competition, reserved for students, to create inclusive experiences at the CEPSUM, the Université de Montréal's sports center.With a total of $31,500 in prizes, the competition promotes the idea of invisible accessibility, an experience of the built environment that is of high quality to all, where the design of accessibility is integrated in an indistinguishable manner, and where universal accessibility is envisaged as a global state of the project experience, rather than a dedicated path made up of identifiable and visible solutions.Participants are invited to propose transformative ideas that offer inclusive and equitable experiences for all users. The competition is structured around three typical sports center experiences that are not currently universally accessible:1. The main entrance - Rethinking the entrance and reception of the sports center;2. Carabins stadium - Improve the game-going experience;3. The pool - Creating an inclusive swimming experience.The proposals received over the summer will be evaluated by a multidisciplinary jury of eight experts. For each of the three experiences, three winning projects will be selected, making a total of nine winners.All proposals will be presented in October 2025 at a conference organized by the Faculté de l'aménagement, bringing together researchers working on accessibility in the built environment."We warmly welcome students from around the world to propose bold, creative ideas that reimagine universal accessibility—not as an add-on, but as an integral, seamless, and uplifting experience for everyone, says Carmela Cucuzzella, Dean of the Faculté de l'aménagement. We are looking for designs that are not only inclusive but also invisible in their accommodation, free of stigma, and full of delight and safety. Think beyond the box—then break it wide open.""A public space that is not accessible to everyone cannot be considered public, says Bechara Helal, Associate Dean of Research and Scientific Life. It is high time to rethink the place of universal accessibility in design disciplines, and that is what this competition aims to do: define innovative ways of designing the built environment so that it can become the setting for quality public experiences for all."About the Faculty of Environmental DesignThe mission of the Faculty of Environmental Design is to train high-calibre professionals and researchers who are qualified to contribute to progress and innovation in design practices. The Faculty is recognized for offering students a rich and stimulating learning environment in a context of intellectual freedom in which students acquire innovative work methods and develop the kind of critical thinking and professional discipline that allow them to become responsible citizens aware of the issues facing them.PrizesAn eight-member multidisciplinary jury will review the proposals. There will be three winning projects given out for each of the three experiences:First place (gold): CAD $6,000.Second place (silver): CAD $3,000.Bronze third place: $1,500.00 CADAdditionally, each winner will get a certificate of merit.Registrations are open until July 1, 2025. Submission deadline is August 05, 2025 02:00 PM. The top image in the article courtesy of The Faculté de l'aménagement. > via University of Montreal - Faculty of Environmental Design

Build EngineerSharkmobMalmö Sweden 211 22 SE5 minutes agoApplyWe are looking for a Build Engineer to make sure we can deliver a world-class game on a world-class build and release pipeline.Working as part of our Engineering team, a multidisciplinary group spanning all things technology, you will play a pivotal role in enabling our teams to quickly iterate on features and content – a cornerstone in shaping a world class gaming experience. You will be supported by passionate technologists who thrive on engineering excellence and pushing the boundaries of what is possible with new technologies and innovative solutions. Together, you will make it quicker and easier to make our game better, and in the end, you’ll contribute to a better experience for gamers across the world.ResponsibilitiesWorking closely with project lead engineers to design and maintain appropriate pipelines for build (CI/CD), release and automated testing.Ensuring that the build, packaging and publishing process is as frictionless and stable as possible for all our teams.Developing your engineering skills.Selecting the appropriate tools for the job, whether that’s creating custom tooling and solutions, extending existing Unreal Engine 5 functionality, or using an off-the-shelf utility.Collaborating effectively within a AAA game development team – being service-minded, organized, and a great team player.RequirementsProven track record as a Build/Release Engineer or similar and strong understanding of Continuous Integration.Several years of programming experience (preferably C# or Python).Strong knowledge of a source control system (e.g., Perforce, Git).Several years of experience with CI/CD frameworks such as Jenkins.Passionate about improving build pipelines and reducing developer friction.An effective communicator who loves to work both independently and in collaboration with others.Bonus pointsGames industry experience.Experience using Unreal Engine.Interest in or experience with solutions for monitoring, like Datadog.Experience with configuration management systems such as Ansible.Who we areSharkmob was founded in 2017 and is headquartered in Malmö, Sweden. We are currently working on Exoborne – a Sharkmob original game. We have previously released Bloodhunt – a battle royale shooter set in the Vampire: The Masquerade universe. We develop games for PC and console, using Unreal 5 to power our vision and ambition.At Sharkmob, we are committed to building an inclusive team that represents diverse backgrounds, perspectives, and skillsets – because we believe that helps us create great games. We welcome all candidates who are aligned with our core values of shared ownership, great games, and, last but not least – having fun! We hope you want to join us on our adventure and become a part of our crew. You can find more great perks of being a crew member. If you want to know more about Sharkmob and our projects, visit our homepage.Create Your Profile — Game companies can contact you with their relevant job openings. Apply

Outlets 8, Conghua | © Wu Siming In the landscape of contemporary Chinese urbanism, few typologies encapsulate the contradictions of late-capitalist development more vividly than the pseudo-European commercial complex. These replicated enclaves, constructed en masse in the early 2000s, were once marketed as symbols of international sophistication. Over time, however, many were abandoned, becoming architectural vestiges of speculative urbanism. Outlets 8 in Conghua, Guangzhou, is one such project that has undergone a radical architectural reinterpretation. Originally completed in 2018 but long dormant, it has been reimagined by E Plus Design in collaboration with URBANUS/LXD Studio. Through a precise, light-touch intervention, the project avoids wholesale demolition and reprograms space through color, rhythm, and landscape strategy. Outlets 8, Conghua Technical Information Architects1-14: E Plus Design Central Plaza Design: URBANUS / LXD Studio Location: Conghua District, Guangzhou, China Gross Area: 80,882 m2 | 870,000 Sq. Ft. Project Years: 2022 – 2023 Photographs: © Wu Siming This approach is like a contemporary remix of classical music. The four blocks correspond to four movements. Without extensive demolition or altering the European-style architectural rhythm, we reinterpreted the emotional tones, chords, and cadenzas. Through a blend of color and modern gestures, the outdated and disproportionate ‘faux-antique’ complex has been reorchestrated into a contemporary architectural symphony. – Li Fu, Chief Architect at E Plus Design Outlets 8, Conghua Photographs Aerial View | © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Chen Liang Liu Shan © Chen Liang Liu Shan © Chen Liang Liu Shan Outlets 8 Context and Typological Challenge Outlets 8 was initially conceived as a 110,000-square-meter faux-European outlet village. Despite its scale and investment, it struggled to resonate with local cultural dynamics and remained idle. The typology itself, rooted in nostalgic mimicry, was already facing obsolescence. The challenge, then, was not only architectural but also conceptual: how to resuscitate a typology that had become both spatially and culturally inert. The design team chose a strategy of minimal physical intervention coupled with maximal perceptual impact. Rather than demolish or drastically reconstruct, they aimed to re-signify the existing structures. This approach reflects a growing trend in urban renewal across China, where sustainability, cost-efficiency, and cultural specificity take precedence over spectacle. Spatial Transformation Through Chromatic Reprogramming After | © Wu Siming Before | Original Facade, © E+ At the intervention’s core is using color as a spatial and psychological agent. The ornament-heavy facades were stripped of their polychromatic excess and repainted in low-saturation hues. This chromatic cleansing revealed the formal rhythms of the architecture beneath. By doing so, the design avoids mimicry and opts for abstraction, reintroducing clarity to the site’s visual language. The design framework is structured as a musical metaphor, with each of the four blocks conceived as a separate movement in a visual symphony. The street-facing facades, now unified through a golden “variation,” establish a new urban frontage that is both legible and symbolically rich. A ribbon-like golden band traces across the main elevations, creating continuity and contrast between old and new volumes. In contrast, the sports block adopts a cooler, blue-toned palette, offering a different spatial and functional rhythm. New architectural insertions are rendered in transparent materials, signaling temporal and programmatic distinctions. At the center, the elliptical plaza becomes a spatial crescendo, defined by a sculptural intervention inspired by Roman aqueducts. This feature functions as a landmark and a temporal break, juxtaposing historical references with performative landscape elements. Rewriting Landscape as Urban Ecology After | © Wu Siming Before | Original Facade, © E+ Water, derived from the nearby Liuxi River, serves as the thematic and material backbone of the landscape design. Its integration is not symbolic but functional. Water flows through constructed channels, interactive fountains, and sculptural cascades that encourage observation and participation. These elements create a multisensory environment that enhances the spatial experience while reinforcing ecological awareness. The planting strategy emphasizes native species capable of withstanding Guangzhou’s subtropical climate. The design maximizes greenery wherever regulatory conditions allow, particularly along the main entrance, central corridors, and arcaded walkways. The result is a layered landscape that balances visual density with ecological resilience. Integrating landscape and architecture as a singular design operation, the project shifts away from ornamental greening toward environmental synthesis. This approach foregrounds interaction and immersion, aligning with broader shifts in landscape architecture toward performative and participatory ecologies. Programmatic Rebirth and Urban Implications After | © Wu Siming Before | Original Facade, © E+ Beyond formal and material considerations, the project redefines the programmatic potential of large-scale retail environments. Positioned as a “micro-vacation” destination, Outlets 8 is a hybrid typology. It combines retail, leisure, and outdoor experience within a cohesive spatial narrative. This reprogramming responds to changing patterns of consumption and leisure in Chinese cities, particularly among younger demographics seeking experiential value over transactional efficiency. Statistical metrics underscore the project’s social impact. In its first nine days, the outlet attracted over half a million visitors and became a trending location across multiple digital platforms. While not the focus of architectural critique, these figures reflect a successful alignment between spatial renewal and public resonance. More importantly, the project offers a replicable model for dealing with the vast inventory of misaligned commercial developments across China. The intervention avoids nostalgia and cynicism by foregrounding perceptual clarity, ecological integration, and cultural recontextualization. Instead, it offers a clear path forward for reimagining the built remnants of a prior urban paradigm. Outlets 8, Conghua Plans Elevations | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Sections | © E Plus Design Outlets 8, Conghua Image Gallery About E Plus Design E Plus Design is a multidisciplinary architecture studio based in Shenzhen, China, known for its innovative approaches to urban renewal, adaptive reuse, and large-scale public space transformations. The firm emphasizes minimal intervention strategies, spatial clarity, and contextual sensitivity, often working at the intersection of architecture, landscape, and urban design to create integrated environments that are both socially responsive and experientially rich. Credits and Additional Notes Chief Design Consultant: Liu Xiaodu Master Plan, Architecture, and Landscape Schemes: E Plus Design Lead Architects: Li Fu, Coco Zhou Project Managers (Architecture): Guo Sibo, Huang Haifeng Architectural Design Team: Wang Junli, Zhang Yan, Cai Yidie, Zhu Meng, Lin Zhaomei, Li Geng, Stephane Anil Mamode, Liu Shan, Zhou Yubo Central Plaza Design: URBANUS / LXD Studio Architect of Central Plaza: Liu Xiaodu Project Manager: Li An’hong Facade Design: Song Baolin, Li Minggang Lighting Design (Concept): Fang Yuhui Lighting Consultant: Han Du Associates Client: Guangzhou Outlets 8 Commercial Management Co., Ltd. Client Design Management Team: Yin Mingyue, Zhao Xiong Landscape Area: 29,100 m² Chief Landscape Architect: Gao Yan Project Manager (Landscape): Zhang Yufeng Landscape Design Team: Yu Xiaolei, Li Zhaozhan, Liu Chenghua Landscape Construction Drawings: E Plus Design Project Manager: Wang Bin Design Team: Wang Bin (Landscape Architecture). Huang Jinxiong (Greening Design). Li Gen (Water & Electricity Design) Structural Design Team: Wang Kaiming, Yang Helin, Wu Xingwei, Zhuang Dengfa Electrical Design Team: Sun Wei, Yang Ying Interior Design Concept Design: Shenzhen Juanshi Design Co., Ltd. Chief Interior Designer: Feng Feifan Project Manager: Liu Hongwei Design Team: Niu Jingxian, Shi Meitao Construction Drawings: Shenzhen Shiye Design Co., Ltd. Project Manager: Shen Kaizhen Design Team: Yao Yijian, Yang Hao, Liu Chen Wayfinding Design Studio: Hexi Brand Design Co., Ltd. Curtain Wall Design Firm: Positive Attitude Group (PAG)

Gironda Residence | © Simone Bossi Located just steps from Piazza del Popolo in Ravenna, the Renaissance-era Casa Guaccimanni holds centuries of architectural and historical weight. Constructed in the fifteenth century for the Venetian podestà Nicolò Giustinian, the building evolved through noble ownership and later became home to Vittorio and Alessandro Guaccimanni, sons of Risorgimento figure Luigi Guaccimanni. Architecturally, the structure is characterized by a tripartite plan with a central corridor flanked by large rooms, an interior courtyard with a double loggia, and decorative elements spanning Renaissance to Neoclassical periods. Once concealed beneath plaster, its frescoed veranda and exposed wooden ceilings speak to a layered history of intervention, concealment, and rediscovery. Gironda Residence in Casa Guaccimanni Technical Information Architects1-13: Giovanni Mecozzi Architetti Location: Casa Guaccimanni, Via Armando Diaz, Ravenna, Italy Client: Emanuela Docimo Project Years: 2022 – 2024 Original Structure: 15th Century Photographs: © Andrea Sestito, © Simone Bossi, © Omar Sartor The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension. – Giovanni Mecozzi Gironda Residence in Casa Guaccimanni Photographs © Omar Sartor © Andrea Sestito © Andrea Sestito © Andrea Sestito © Omar Sartor © Simone Bossi © Simone Bossi © Simone Bossi © Omar Sartor © Omar Sartor © Omar Sartor © Andrea Sestito © Omar Sartor Design Intent: Reversibility and Temporal Tension The recent architectural project by Giovanni Mecozzi Architetti centers on the noble floor of the palazzo, reinterpreted as a contemporary residence named Gironda. Rather than imposing a new visual regime onto the historic shell, the intervention operates with restraint, foregrounding the building’s original character while establishing new spatial and material conditions. At the core of the project lies a design philosophy rooted in reversibility. Mecozzi’s intervention resists permanence. The furnishings and spatial devices introduced into the historic rooms are self-supporting and detached from the structure. No new element makes physical contact with the floors, ceilings, or walls, preserving the integrity of the original surfaces. This strategy avoids irreversible alterations and allows the architecture to remain temporally flexible. Architect Giovanni Mecozzi articulates this approach succinctly: “The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension.” This spatial tension is not decorative but conceptual, prompting occupants to consider the relationship between historical continuity and contemporary transformation. The design does not attempt to erase time but rather exposes its layers through careful juxtaposition. The project draws conceptual and chromatic inspiration from Ravenna’s early Christian and Byzantine mosaics. Rather than replicate ornamental motifs, Mecozzi extracts abstract qualities such as color, luminosity, and surface texture, integrating them as subtle spatial references throughout the residence. Gironda Residence Material Strategy Access to the residence is organized through a longitudinal hallway that bisects the plan, connecting a balcony on the north façade with a loggia overlooking the garden to the south. This corridor becomes a spine for circulation and orientation, punctuated by entries into five main rooms: the kitchen, veranda, and three independent suites. Each suite functions as a self-contained spatial environment. The original large rooms have been reimagined with integrated volumes housing diverse domestic functions: bathrooms, saunas, walk-in closets, reading nooks, and home cinemas. These new programmatic layers are embedded within freestanding furniture structures, which operate more as inhabitable objects than architectural partitions. Color becomes an operative tool for spatial differentiation. The three principal suites, the Gold Room, the Blue Room, and the Green Room, are introduced chromatically through thresholds that face the main corridor. This prelude of color sets the tone for each room’s unique interior experience. Within, glossy glass tiles, gilded surfaces, and a reduced palette of materials establish a scenographic yet restrained environment. The flooring, a Venetian terrazzo installed during earlier restoration work in the 2000s, has been retained. Its beveled borders and rounded corners respond to the proportions of each room, reinforcing a visual continuity that binds the new interventions with the inherited context. In contrast to the historical envelope, the furniture and spatial devices employ a language of monochromatic forms and minimal detailing, occasionally verging on neoplastic abstraction. This tension between old ornament and new abstraction is one of the project’s defining features. Furnishings curated by Atelier Biagetti, known for their theatrical and ironic sensibility, further enrich the atmosphere. These pieces do not mimic the historical setting but create moments of visual friction and playful ambiguity, enhancing the multi-temporal character of the interiors. Architectural Significance and Cultural Dialogue The Gironda residence exemplifies a growing discourse in contemporary architecture around adaptive reuse that neither mimics nor erases the past. Rather than treating heritage as a constraint or an aesthetic to be curated, Mecozzi engages it as an active agent in spatial transformation. The project is a case study in reversible architecture, where temporality is embedded in the design, not just its historical references. This intervention prompts broader questions about the role of preservation in contemporary practice. Can architectural interventions occupy historic contexts without becoming parasitic or nostalgic? Mecozzi’s project suggests that they can adopt a posture of critical distance and conceptual clarity. Gironda does not attempt to restore Casa Guaccimanni to a previous state or impose a singular vision of modernity. Instead, it crafts a dialogue between past and present, structured through spatial strategies, material choices, and chromatic cues. In doing so, it opens a new chapter in the building’s ongoing life, one that is fully contemporary yet deeply rooted in architectural memory. Gironda Residence in Casa Guaccimanni Plans Floor Plan | © Giovanni Mecozzi Architetti Golden Room Layout | © Giovanni Mecozzi Architetti Door Detail | © Giovanni Mecozzi Architetti Gironda Residence in Casa Guaccimanni Image Gallery About Giovanni Mecozzi Giovanni Mecozzi is an Italian architect based in Ravenna, Italy, and the founder of Giovanni Mecozzi Architetti (GMA), a multidisciplinary studio specializing in architecture, interior design, and landscape projects. After graduating from the University of Ferrara with an architecture degree, Mecozzi gained international experience working in Spain, including collaborating with Mendaro Arquitectos in Madrid. Upon returning to Italy, he co-founded GMA, focusing on projects emphasizing the relationship between architecture, the client, and the context, with a particular interest in renovating and transforming historical buildings.  Credits and Additional Notes Design Team: Giovanni Mecozzi, Cecilia Verdini, Filippo Minghetti Construction: Edilcostruzioni (Leoni Andrea) Electrical Systems: Elektra Service (Andrea Baiardi) Mechanical and Hydraulic Systems: Nuova OLP Structural Alterations: Not applicable (intervention is fully reversible) Custom Furniture: Idea Legno (Paolo Berdondini) Curtains and Fabrics: Selezione Arredamenti, Ravenna Lighting: Viabizzuno (via Tutto Luce, Cesena) Resin Coatings and Flooring: Kerakoll Rugs and Carpeting: Centro Moquette, Rimini Bathroom Furnishings: Salaroli, Ravenna Furniture, Artwork, and Design Objects Selected by: Atelier Biagetti (Milan) Furniture Designers: Alberto Biagetti and Laura Baldassarri

A competition is being held to rethink the Flemish Community Commission’s property portfolio in Brussels (Deadline: 17 June 2025) The competition – organised by the Brussels ‘Bouwmeester’ chief architect – will select a ‘multidisciplinary and transversal’ team to draw up a high-level vision for the commission’s estate which includes 64 buildings and campuses across the Brussels-Capital Region The winner of the €190,000 contract will create short (1–5 years), medium (5–15 years), and long term (15–30 years) strategies for the organisation which provides cultural, educational, well-being and health services to Flemings across the city. According to the brief: ‘The Flemish Community Commission (VGC) holds a significant public real estate portfolio in the Brussels-Capital Region, covering approximately 246,000m², of which around 94,000m² is under its direct management. ‘This property, consisting of 64 buildings and campuses operated under various models and real estate contracts, now requires a clear and structured long-term vision. The VGC aims to move beyond its current multi-year plan and develop a long-term strategy focused on sustainable and resilient infrastructure.’ Brussels is the capital of the French Community of Belgium and home to a Dutch-speaking Flemish community of around 240,000 people. The Flemish Community Commission was founded in 1989 to provide a range of community services to Flemings in Brussels. De Vaartkapoen in Sint-Jans-Molenbeek, Brussels is a venue run by the Flemish Community Commission Credit: Image by Lotte222 Creative Commons Attribution-Share Alike 4.0 International license The competition is the latest to be organised by the Bouwmeester, which has recently launched international contests for an upgrade of the Les Jardins d’Élise school, to retrofit and convert a European Commission office block, and for 25 new affordable homes in the Usquare development of Brussels. The latest project aims to identify a ‘range of sustainable, future-oriented’ solutions for the city’s many Flemish Community Commission buildings and their management. The study will be expected to take into account ‘programmatic, spatial, technical, and financial dimensions.’ Participating teams will be required to have expertise in spatial research including architecture, urban planning, and building services with knowledge of urban development, real estate, and socio-spatial issues. The competition language is Dutch and the winning team will work receive an estimated €190,000 contract. Non-winning teams who submit qualifying bids will each receive a €2,000 honorarium. How to apply Deadline: 11am local time, 17 June Competition funding source: Not supplied Project funding source: Not supplied Owner of site(s): Not suppliedVisit the competition website for more information

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

An open international ideas contest is being held to rethink Baghdad’s underused main railway station (Deadline: 1 October) Open to architects, students, engineers, planners and designers – the single-stage competition seeks proposals to upgrade and revitalize the landmark 1953 complex which was designed by Scottish architect JM Wilson and originally provided a range of domestic and international services but now only operates one overnight train to Basra. The call for ideas – organised by Iraqi architectural awards initiative Tamayouz – aims to generate ideas that celebrate the partially disused station’s heritage while also helping to unlock renewal in the surrounding area. The overall winner will receive the Dewan Award named after a practice in Dubai which sponsors the competition. Baghdad Central Station Credit: Image by Mondalawy Creative Commons Attribution-Share Alike 4.0 International license According to the brief: ‘This is more than a design challenge. It’s an open call to envision how architecture can honour the past while shaping the future. We welcome bold, context-sensitive proposals that balance heritage preservation with civic ambition, and architectural vision with urban integration. ‘Participants will have the opportunity to contribute to a meaningful dialogue about the role of public space, mobility, and memory in shaping Baghdad’s urban fabric. Whether working individually or in multidisciplinary teams, entrants are encouraged to explore innovative and inclusive ideas that reconnect this iconic site with the life of the city.’ The competition focusses on the site of Baghdad Central Station on Qahira Street which opened in 1953 and was renovated in the early 2000s but has now become ‘disconnected from Baghdad’s urban life’ and is considered in a state of decline. The station is located in a major development zone a short distance from the Green Zone and the site of the unfinished ‘Grand Saddam Mosque’ which had been earmarked for a new Iraqi parliament designed by Zaha Hadid Architects. The brick-built station – which is crowned by a 21-metre turquoise dome framed by two prominent clock towers – is currently severed from the wider city by several large congested roads and suffers from underuse and outdated infrastructure. Baghdad Central Station Credit: Image by Mondalawy Creative Commons Attribution-Share Alike 4.0 International license The call for concepts seeks to reconnect the landmark building with the surrounding city and transform it into a ‘vibrant, functional civic space’ which could accommodate new modes of transport including a planned future metro system and other mobility needs. Submissions will be expected to highlight the architectural and cultural value of the station, restore the existing entrance hall and platforms, upgrade the public realm by creating a safe and pedestrian-friendly station forecourt, introduce new small-scale retail and food outlets that support everyday use, and integrate new sustainable and energy efficient technologies. Judges will include Wendy Pullan, professor at Cambridge University; Sebastian Hicks from Oxford Brookes University; Jala Makhzoumi, professor of landscape architecture at the American University of Beirut; and Nadia Habash, head of the Palestinian Engineers Association. The latest contest is the 13th Dewan Award competition to be organised by Tamayouz which is headquartered in Coventry, England. In 2020, the organisation held a contest to regenerate the post-industrial Dakeer Island in Basra which was won by ADD Architects from Alexandria, Egypt. The overall winner, to be announced in November, will receive USD $6,000 or a half-year paid internship at Dewan Architects and Engineers in Dubai. A second prize of USD $3,000 and third prize of $1,000 will also be awarded. The competition language is English. How to apply Deadline: 1 October Fee: $75 from April to 31 May; $90 from 1 June to 31 Aug; $100 from 1 Sep to 29 Sept Competition Funding Source: Sponsored by Dewan Architect + Engineers in Dubai Project Funding Source: N/A , Ideas competition at this stage Owner of Site(s): Iraqi Republic Railways CompanyVisit the competition website for more information

Masterplan & Sports Complex La Paz | © Jaime Navarro In La Paz, Baja California Sur, the transformation of El Cajoncito, a neglected dry riverbed central to the city’s stormwater system, marks a strategic urban intervention led by CCA | Bernardo Quinzaños. The Masterplan La Paz addresses the fragmented nature of the city’s spatial fabric by reconceiving this infrastructural void as a connective civic spine. The project is not merely about landscape or recreation; it functions as an integrated ecological, hydrological, and social framework. Masterplan & Sports Complex La Paz Technical Information Architects1-6: CCA | Bernardo Quinzaños Location: La Paz, Baja California Sur, México Gross Area: 22,727 m2 | 245,000 Sq. Ft. Completion Year: 2025 Photographs: © Jaime Navarro We envisioned the Masterplan La Paz not just as infrastructure, but as a catalyst for social integration, where public space becomes a bridge between ecological resilience and community well-being. – Bernardo Quinzaños Masterplan & Sports Complex La Paz Photographs © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro Reframing the Urban Void: Context and Design Intent The master plan is rooted in a clear intention: to bridge socio-spatial divides and enhance resilience in a region highly susceptible to seasonal flooding. El Cajoncito, which becomes impassable during the rainy season, historically reinforced urban disconnection. Residents of adjacent neighborhoods were required to circumvent it by traveling between four and eight kilometers despite the separation being no more than 200 meters. The master plan reconceives this gap not as a barrier but as an opportunity to integrate infrastructure and urban life. Informed by a collaborative process involving technical consultants, municipal authorities, and the local community, the project articulates infrastructure as a tool for civic repair. Public space, mobility, and water management are synthesized into a singular spatial proposal, creating a precedent for interventions in Latin American secondary cities facing similar socio-environmental challenges. Masterplan & Sports Complex La Paz Spatial Strategy At the heart of the project is a linear spatial strategy that reorients movement and redefines thresholds within the city. The Paseo Lineal, a continuous pedestrian and cycling path, forms the connective tissue of the master plan. Stretching from the city’s marina to the new sports complex, this spine is both infrastructural and ecological. It incorporates rainwater mitigation systems, shaded rest areas, and integrated bus shelters, creating a multimodal corridor that prioritizes non-motorized transport and public transit. A critical architectural gesture within this system is the bridge that spans El Cajoncito. It addresses the acute lack of connectivity by enabling direct, safe passage between neighborhoods, fundamentally altering local movement patterns. Rather than serving as an isolated object, the bridge is embedded in a network of social and ecological flows. The project avoids monofunctional zoning and instead embraces layered programming that intersperses recreational, cultural, and environmental uses. This pluralism is essential to its success as a public space. The spatial organization acknowledges the diversity of its users, from athletes and children to commuters and spectators, ensuring the infrastructure supports everyday and exceptional activities. Architectural Language and Material Intelligence The Conjunto Deportivo La Paz forms a key anchor of the master plan. Its architecture is defined by modularity, climatic responsiveness, and material economy. The baseball pavilions, arranged as four repeated units, are designed with variations in field size and complexity to accommodate a wide range of users, from young children to professional-level athletes. The modular approach streamlines construction while allowing for phased expansion. Material decisions respond directly to the site’s climatic conditions. Steel frames provide structural clarity and durability, while open facades and ridge vents enable passive cross-ventilation. Shaded seating areas and integrated benches serve spectators and athletes, offering thermal comfort in the region’s high temperatures. These elements are not ornamental but spatial devices rooted in environmental performance and user comfort. The multipurpose building further expands the programmatic scope. Two offset gabled volumes house classrooms, offices, a library, and spaces for cultural activities such as dance and music. The flexible structure supports simultaneous functions without formal separation and encourages informal overlaps and civic interaction. Its open-air double-height space is a community forum that blurs the boundary between the building and the plaza. The architectural language is intentionally restrained. The use of organic forms in certain shaded structures softens the sports complex’s visual rigidity and fosters a more approachable atmosphere without compromising programmatic clarity. Infrastructure as a Social Catalyst The project’s impact extends beyond physical infrastructure. By decentralizing public amenities, the masterplan challenges the historic concentration of civic life along La Paz’s malecón. The project redistributes access to recreation, culture, and mobility by repositioning investment in underrepresented neighborhoods. Since its opening, the sports complex has functioned as a venue and a civic platform. It accommodates various events, including tournaments and cultural festivals, activating the site throughout the day and seasons. Providing official-quality baseball fields is particularly significant in a city with a strong sporting culture but limited infrastructure. The center fosters intergenerational engagement and strengthens communal ties. The Masterplan La Paz exemplifies how architecture, when embedded in broader territorial and social strategies, can exceed form-making limits. It demonstrates that infrastructural projects, often perceived as technical or neutral, can instead serve as active instruments for equity, resilience, and civic expression. The work of CCA | Bernardo Quinzaños offers a thoughtful model for integrating architecture and landscape into the city’s life, not through spectacle but through the careful choreography of space, structure, and use. Masterplan & Sports Complex La Paz Plans Master Plan | © CCA I Bernardo Quinzaños Master Plan | © CCA I Bernardo Quinzaños Bridge Floor Plan | © CCA I Bernardo Quinzaños Master Plan | © CCA I Bernardo Quinzaños Floor Plan | © CCA I Bernardo Quinzaños Section | © CCA I Bernardo Quinzaños Elevation | © CCA I Bernardo Quinzaños Section | © CCA I Bernardo Quinzaños Masterplan & Sports Complex La Paz Image Gallery About CCA | Bernardo Quinzaños CCA | Bernardo Quinzaños is a Mexico City-based architecture studio led by architect Bernardo Quinzaños. The firm focuses on socially driven and contextually responsive design, strongly emphasizing public infrastructure, urban regeneration, and environmental resilience. Through multidisciplinary collaborations and community engagement, CCA develops projects that integrate architecture with broader cultural and ecological systems. Credits and Additional Notes Lead Architect: Bernardo Quinzaños Design Team: Santiago Vélez, Begoña Manzano, Andrés Suárez, Carlos Molina, Cristian Nieves, Miguel Izaguirre, Sara de la Cabada, André Torres, Abigaíl Zavaleta, Víctor Zúñiga, Pablo Ruiz, Scarlett Díaz Client: SEDATU (Secretaría de Desarrollo Agrario, Territorial y Urbano), Municipality of La Paz Builder: HABA, Alan Haro Photographer: Jaime Navarro Video Production: Jaime Navarro Estudio, Ricardo Esquivel, Fernanda Ventura

Submitted by WA Contents Rosan Bosch Studio releases nature-based campus for The Garzón School in Uruguay Uruguay Architecture News - May 28, 2025 - 04:21   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" For The Garzón School in Uruguay, Rosan Bosch Studio created a brand-new campus and classroom space surrounded by nature.The school's location in the middle of a thick eucalyptus forest creates a special bond with the natural world.The identity of the new Garzón School in Uruguay merges with its expansive and wild surroundings. Rosan Bosch Studio has worked closely with the school community to create a design idea that allows learning to occur both indoors and outside with ease. The new educational environment fosters natural curiosity and promotes play, exploration, and individual expression.The architecture, interior design, landscape design, and master plan were all created by Rosan Bosch Studio. Learning transcends conventional limits on this nature-connected campus because to the creative concept design's application of biophilic design principles.Nature is not only an addition to education; it is the school itself. Here, a specially created curriculum centered on experimentation and inquiry-based learning makes the students the heroes of their own education. According to the school's concept, nature is a teacher in and of itself, not just an adjunct to education.With six distinct learning zones (also known as Learning Worlds) based on six design principles—Mountain Top, Cave, Campfire, Watering Hole, Hands-on, and Movement—the Rosan Bosch Studio's concept design centers the pupils in a diversified learning environment.The six learning zones, which are created to accommodate various learning styles, give pupils significant options that promote independence and agency. Under the direction of educators and inclusion specialists, the kids are urged to go on a personal quest of inquiry and learning that transcends conventional educational frameworks.The School is the Park, and the Park is the SchoolThe nature-based campus blends a strong connection to nature with diverse learning areas that are intended to accommodate various learning preferences. It gives students a setting that encourages innovation, curiosity, and teamwork, creating real-world learning opportunities that equip future change agents.In this case, "the park is the school, and the school is the park," and all areas are interwoven with the surroundings in a continuous interaction between indoor and outdoor spaces.A meandering road round a lake and passes through a meadow before arriving to The Garzón School's "village," which is tucked away in a thick eucalyptus forest.Each student's learning journey starts here and then spreads outward as they become more independent and conscious.This endless park provides a fertile field for creativity and exploration with its winding streams and promises of adventure. It is an audacious reimagining of modern schooling.Landscape Design by Rosan Bosch StudioThe architectural concept and material selection are informed by nature and are sustainable, locally sourced, and thoughtfully chosen to blend in with the surrounding environment. The design concept combines natural light, subtle hues, and engaging textures to enhance the wellbeing of both teachers and pupils and to strengthen the bonds between them.In addition to offering locations for gathering and play, the village's landscape design plays a crucial role in identifying areas that provide kids a feeling of identification and belonging. Vernacular Uruguayan architecture is evoked by two brick plazas, and the natural environment is enhanced with indigenous plants and whimsical wooden features. These complement the sustainable buildings, which are completely composed of wood and covered in a traditional Japanese charring method called shou sugi ban. This gives the buildings longevity, personality, and a close connection to the natural environment.The new Garzón School exemplifies a transformative educational model that sets a standard for Latin America, showing how careful pedagogical, architectural, and natural integration can create spaces where learning occurs organically and students grow into capable, self-assured changemakers prepared for tomorrow's challenges.To revolutionize education, the Garzón School in Maldonado, Uruguay, has created a completely integrated ecosystem.The school's identity is interwoven with the expansive and untamed terrain.The school has created a customized, student-centered curriculum that is founded on the world's greatest teaching methods.The concept-based curriculum fosters critical and design thinking while emphasizing the development of competences, abilities, and traits. The lifelong skills and competences that students gain and develop during the process define the future-oriented curriculum. Because of this, the TGS curriculum emphasizes the development of critical 21st-century skills under the catchy heading of "Think, Act, Relate, Communicate."The campus, which launched the first phase of the project in March 2025, is a prime example of The Garzón School's dedication to providing top-notch, nature-based education and serves as a motivating example for educational institutions throughout Latin America and beyond.The project's next phase is presently being designed by Rosan Bosch Studio.MasterplanCentral buildings, landscapeColour Plan, Central BuildingsColour PlanSectionsElevationsElevationsElevationsAn multidisciplinary practice in art, architecture, design, and pedagogy, Rosan Bosch Studio focuses on creating learning spaces for students of all ages. The studio was established by Rosan Bosch in 2011. The studio operates globally, including headquarters in Copenhagen and Madrid.Project factsArchitect: Rosan Bosch StudioInterior Design: Rosan Bosch StudioMasterplan and Landscape Design: Rosan Bosch Studio Local Landscaping Consultant: Amalia Robredo Executive Architect andAssembly: Enkel Group Engineering: ArborealContractor and Mass Timber Solutions: Arboreal Carpentry: MeetlineYear of completion: 2025 (first phase)All images © Eleazar Cuadros. All drawigns © Rosan Bosch Studio.> via Rosan Bosch Studio

ZARA Nanjing Xinjiekou | © Seth Powers, ZARA Within the dense commercial fabric of Nanjing’s Xinjiekou district, AIM Architecture’s intervention for ZARA transcends the conventional boundaries of retail design. Rather than presenting a sealed envelope, the store engages directly with the public realm, positioning itself as an architectural node in the city’s pedestrian network. The project acknowledges the evolving role of high-street retail in an era increasingly defined by digital commerce. In this context, the store becomes a civic gesture, serving as a point of sale and an interface between the brand and the city. ZARA Nanjing Xinjiekou Flagship Store Technical Information Architects1-13: AIM Architecture Location: Xinjiekou, Nanjing, China Client: ZARA Commercial (Shanghai) Co., Ltd Area: 3,450 m2 | 37,135 Sq. Ft. Project Year: 2023 – 2025 Photographs: © Seth Powers, ZARA We designed the ZARA Nanjing flagship as a seamless extension of the city, a space where retail, public life, and cultural engagement converge to reshape the role of the store in the urban landscape. – AIM Architecture Architects ZARA Nanjing Xinjiekou Flagship Store Photographs © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA © Seth Powers, ZARA Contextual Integration and Urban Engagement A key architectural move is the introduction of a generous cantilevered canopy and fluid facade, softening the threshold between the street and the interior. This transitional zone is supported by a reconfigured streetscape and entrance plaza, inviting occupation beyond the function of shopping. These spatial devices are calibrated to intensify the porosity between inside and outside, fostering a continuity of urban experience. The architectural language, while assertive, avoids spectacle. Instead, it aligns with the rhythms of the street, suggesting a model for how retail environments might more meaningfully participate in the life of the city. AIM Architecture eschews traditional retail hierarchies in favor of a layered and adaptive spatial arrangement. The design is organized around a sequence of interrelated zones, each calibrated to support distinct experiential intensities. At the ground level, the introduction of ZARA Salon offers a refined, intimate encounter with the brand. This contrasts with the upper levels, where spatial arrangements and materiality adopt a more experimental and energetic tone. These programmatic shifts articulate a nuanced understanding of the store’s diverse user profiles and behavioral patterns. Central to the spatial composition is the double-height entrance plaza, conceived as a flexible platform for cultural engagement. Rather than being subordinated to commercial imperatives, this space opens itself to temporary exhibitions, artistic collaborations, and public events. The integration of a visible automated clothing transportation system along a glazed wall serves a dual function: operational efficiency and spatial expression. By revealing the store’s logistical mechanisms, the architecture foregrounds process as a form of engagement, reinforcing the store’s identity as an evolving machine. Material Expression and Architectural Language Material choices throughout the project articulate a sensibility rooted in clarity, tactility, and contextual responsiveness. The palette includes exposed structural concrete, red brick, stainless steel, solid wood, and ultra-clear glass. These materials are not merely applied as surface treatments but are used to express the building’s spatial and structural logic. One of the project’s most distinctive features is the red brick “mountain” staircase that extends toward the public realm. This element performs multiple roles: it serves as circulation, seating, display, and an urban landmark. Its textured materiality references the local architectural vernacular, grounding the otherwise contemporary design in its geographic and cultural context. Inside, the polished concrete floors and cassette ceiling system establishes a framework of disciplined neutrality, allowing the dynamic display environments and customer movement to animate the space without visual clutter. The approach to detailing reflects a commitment to architectural integrity. Junctions are resolved with precision, and structural elements are left deliberately exposed, contributing to a language of authenticity. The lighting strategy, developed in collaboration with Fagerhult, underscores spatial transitions and accentuates material contrasts without resorting to theatricality. Toward a New Retail Paradigm: Cultural Infrastructure The ZARA Nanjing Xinjiekou Flagship Store points toward a redefinition of the retail typology, aligning it more closely with the functions of cultural infrastructure. This is a project where architecture mediates between commerce and community, suggesting that the store can operate as a space of encounter, interaction, and expression. In a moment where physical retail must justify its relevance against the efficiency of e-commerce, AIM Architecture proposes a counter-model in which the store contributes to the public sphere, both spatially and culturally. The project offers an expanded understanding of what a flagship store can be through architectural interventions that encourage lingering discovery and participation. It is a space of consumption and a spatial framework for collective experience. ZARA Nanjing Xinjiekou Flagship Store Plans Ground Level | © AIM Architecture Upper Level | © AIM Architecture ZARA Nanjing Xinjiekou Flagship Store Image Gallery About AIM Architecture AIM Architecture is a Shanghai-based architectural practice founded by Wendy Saunders and Vincent de Graaf. It is known for its multidisciplinary approach that blends architecture, interior design, and urban design. The studio focuses on creating contextually responsive and experientially rich environments that engage with the cultural, social, and spatial dynamics of contemporary cities. Credits and Additional Notes Design Principals: Wendy Saunders, Vincent de Graaf Project Manager: Marta Pozo, Sacha Silva Project Architect: Ewa Szajda Design Team: Alba Galan, Davide Signorato, Emilio Wang, Gabrielle Liu, Guanlin Li, Haochen Yang, Jerry Guo, Song Jie, Kang Jin, Junger Xia, Kexin Gao, Mia Lei, Nora Liu, Victor Mongin, Wei Zheng, Weisha Dai, Qianqian Bao, Xiao Wen, Zhang Yi, Zhao Na Visualization: JIAO Yan Structural Engineer & Façade Consultant: bespoke. Sur-Mesure Engineering Studio General Contractor: Shanghai Choyoin Construction Group Co., Ltd Façade Contractor: Shanghai Choyoin Construction Group Co., Ltd Furniture: Caamaño Asia (KunShan) Furniture and Complements Co., Ltd  Furniture and Complements Co., Ltd (glass),  Lighting Supplier: Fagerhult Audiovisual Supplier: Inusual Comunicación Innovadora / ICI Technology Shenzhen Ltd. Zacaffè Design: Art Recherche Industrie Digital Experience: Bagel Affairs