An open international competition is being held to transform the central market area of Pazardzhik, Bulgaria (Deadline: 1 September) The ‘Pazardzhik Central Market Area’ competition – organised by OPTIMISTAS on behalf of the Municipality of Pazardzhik – seeks innovative urban and architectural solutions to revitalise the historic market zone which serves as a key commercial and social hub for the wider city centre. The competition invites participants to propose a new vision for one of the city’s most significant public spaces located a short distance from Mineral Baths Park, Saedinenie Square and a shopping centre. The project aims to deliver a contemporary, multifunctional public space that strengthens the identity and vibrancy of Pazardzhik. Competition site: Pazardzhik market, Bulgaria According to the brief: ‘This is a unique opportunity for creators from all over the world to contribute to the development of Pazardzhik’s central area with ideas that preserve cultural heritage and inspire future generations. ‘A chance is emerging for bold architectural and urban inspiration that will confidently combine history with modernity, creating a new recognisable face for the city. ‘The Municipality of Pazardzhik believes that responsibility towards the urban environment is a duty to both past and future generations. ‘The launch of this competition demonstrates our choice to plan thoughtfully, create carefully, and attract ideas with an open heart. The responsibility to preserve and develop the spirit of the city market is our mission and commitment to the city and its residents.’ Located 112km southeast of Sofia, Pazardzhik – named after the Turkish word for market – is a historic city on the banks of the Maritsa River with around 50,000 inhabitants. The latest contest comes less than a year after an international contest was held to upgrade the historic market square of Stara Zagora in Bulgaria. The latest competition calls for a new vision for Pazardzhik’s main market – reorganising trading spaces, improving pedestrian and cycling access, integrating greenery and relaxation zones, resolving vehicle and parking issues and ensuring accessibility. The contest site, located in the heart of Pazardzhik, is characterised by its historic market function, proximity to key civic and cultural institutions, and its potential to serve as a catalyst for broader urban regeneration. Designs will be expected to include covered and open market areas, modern amenities and multifunctional, year-round public space. The competition is open to all Bulgarian and international architects. The competition language is Bulgarian and submissions will be assessed anonymously by a yet-to-be-announced jury featuring seven international members. Submissions will be evaluated 25 per cent on urban concept, 25 per cent on functional solution, 20 per cent on innovation, 20 per cent on design and 10 per cent on project value. The overall winner – due to be announced on 17 September – will receive a €7,500 prize while a second prize of €5,000 and third prize of €2,500 will also be awarded. The winning team will also be invited to negotiate for an estimated €75,000 contract for further design development and the implementation of their proposal. How to apply Deadline: 1 September Competition funding source: Municipality of Pazardzhik Project funding source: Municipality of Pazardzhik Owner of site(s): Municipality of Pazardzhik Contact: pazardzhikmarket@competition.bgVisit the competition website for more information

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" 19 shortlisted projects for the 2025 Award cycle were revealed by the Aga Khan Award for Architecture (AKAA). A portion of the $1 million prize, one of the biggest in architecture, will be awarded to the winning proposals. Out of the 369 projects nominated for the 16th Award Cycle (2023-2025), an independent Master Jury chose the 19 shortlisted projects from 15 countries.The nine members of the Master Jury for the 16th Award cycle include Azra Akšamija, Noura Al-Sayeh Holtrop, Lucia Allais, David Basulto, Yvonne Farrell, Kabage Karanja, Yacouba Konaté, Hassan Radoine, and Mun Summ Wong.His Late Highness Prince Karim Aga Khan IV created the Aga Khan Award for Architecture in 1977 to recognize and promote architectural ideas that effectively meet the needs and goals of communities where Muslims are a major population. Nearly 10,000 construction projects have been documented since the award's inception 48 years ago, and 128 projects have been granted it. The AKAA's selection method places a strong emphasis on architecture that stimulates and responds to people's cultural ambitions in addition to meeting their physical, social, and economic demands.The Aga Khan Award for Architecture is governed by a Steering Committee chaired by His Highness the Aga Khan. The other members of the Steering Committee are Meisa Batayneh, Principal Architect, Founder, maisam architects and engineers, Amman, Jordan; Souleymane Bachir Diagne, Professor of Philosophy and Francophone Studies, Columbia University, New York, United States of America; Lesley Lokko, Founder & Director, African Futures Institute, Accra, Ghana; Gülru Necipoğlu, Director and Professor, Aga Khan Program for Islamic Architecture, Harvard University, Cambridge, United States of America; Hashim Sarkis, Founder & Principal, Hashim Sarkis Studios (HSS); Dean, School of Architecture and Planning, Massachusetts Institute of Technology, Cambridge, United States of America; and Sarah M. Whiting, Partner, WW Architecture; Dean and Josep Lluís Sert Professor of Architecture, Graduate School of Design, Harvard University, Cambridge, United States of America. Farrokh Derakhshani is the Director of the Award.Examples of outstanding architecture in the areas of modern design, social housing, community development and enhancement, historic preservation, reuse and area conservation, landscape design, and environmental enhancement are recognized by the Aga Khan Award for Architecture.Building plans that creatively utilize local resources and relevant technologies, as well as initiatives that could spur such initiatives abroad, are given special consideration. It should be mentioned that in addition to honoring architects, the Award also recognizes towns, builders, clients, master craftspeople, and engineers who have contributed significantly to the project.Projects had to be completed between January 1, 2018, and December 31, 2023, and they had to have been operational for a minimum of one year in order to be eligible for consideration in the 2025 Award cycle. The Award is not available for projects that His Highness the Aga Khan or any of the Aga Khan Development Network (AKDN) institutions have commissioned.See the 19 shortlisted projects with their short project descriptions competing for the 2025 Award Cycle:Khudi Bari. Image © Aga Khan Trust for Culture / City Syntax (F. M. Faruque Abdullah Shawon, H. M. Fozla Rabby Apurbo)BangladeshKhudi Bari, in various locations, by Marina Tabassum ArchitectsMarina Tabassum Architects' Khudi Bari, which can be readily disassembled and reassembled to suit the needs of the users, is a replicable solution for displaced communities impacted by geographic and climatic changes.West Wusutu Village Community Centre. Image © Aga Khan Trust for Culture / Dou Yujun (photographer)ChinaWest Wusutu Village Community Centre, Hohhot, Inner Mongolia, by Zhang PengjuIn addition to meeting the religious demands of the local Hui Muslims, Zhang Pengju's West Wusutu Village Community Centre in Hohhot, Inner Mongolia, offers social and cultural spaces for locals and artists. Constructed from recycled bricks, it features multipurpose indoor and outdoor areas that promote communal harmony.Revitalisation of Historic Esna. Image © Aga Khan Trust for Culture / Ahmed Salem (photographer)EgyptRevitalisation of Historic Esna, by Takween Integrated Community DevelopmentBy using physical interventions, socioeconomic projects, and creative urban planning techniques, Takween Integrated Community Development's Revitalization of Historic Esna tackles the issues of cultural tourism in Upper Egypt and turns the once-forgotten area around the Temple of Khnum into a thriving historic city.The Arc at Green School. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer)IndonesiaThe Arc at Green School, in Bali, by IBUKU / Elora HardyAfter 15 years of bamboo experimenting at the Green School Bali, IBUKU/Elora Hardy created The Arc at Green School. The Arc is a brand-new community wellness facility built on the foundations of a temporary gym. High-precision engineering and regional handicraft are combined in this construction.Islamic Centre Nurul Yaqin Mosque. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer)IndonesiaIslamic Centre Nurul Yaqin Mosque, in Palu, Central Sulawesi, by Dave Orlando and Fandy GunawanDave Orlando and Fandy Gunawan built the Islamic Center Nurul Yaqin Mosque in Palu, Central Sulawesi, on the location of a previous mosque that was damaged by a 2018 tsunami. There is a place for worship and assembly at the new Islamic Center. Surrounded by a shallow reflecting pool that may be drained to make room for more guests, it is open to the countryside.Microlibrary Warak Kayu. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer)IndonesiaMicrolibraries in various cities, by SHAU / Daliana Suryawinata, Florian HeinzelmannFlorian Heinzelmann, the project's initiator, works with stakeholders at all levels to provide high-quality public spaces in a number of Indonesian parks and kampungs through microlibraries in different towns run by SHAU/Daliana Suryawinata. So far, six have been constructed, and by 2045, 100 are planned.Majara Residence. Image © Aga Khan Trust for Culture / Deed Studio (photographer)IranMajara Complex and Community Redevelopment, in Hormuz Island by ZAV Architects / Mohamadreza GhodousiThe Majara Complex and Community Redevelopment on Hormuz Island, designed by ZAV Architects and Mohamadreza Ghodousi, is well-known for its vibrant domes that offer eco-friendly lodging for visitors visiting Hormuz's distinctive scenery. In addition to providing new amenities for the islanders who visit to socialize, pray, or utilize the library, it was constructed by highly trained local laborers.Jahad Metro Plaza. Image © Aga Khan Trust for Culture / Deed Studio (photographer)IranJahad Metro Plaza in Tehran, by KA Architecture StudioKA Architecture Studio's Jahad Metro Plaza in Tehran was constructed to replace the dilapidated old buildings. It turned the location into a beloved pedestrian-friendly landmark. The arched vaults, which are covered in locally manufactured brick, vary in height to let air and light into the area they are protecting.Khan Jaljulia Restoration. Image © Aga Khan Trust for Culture / Mikaela Burstow (photographer)IsraelKhan Jaljulia Restoration in Jaljulia by Elias KhuriElias Khuri's Khan Jaljulia Restoration is a cost-effective intervention set amidst the remnants of a 14th-century Khan in Jaljulia. By converting the abandoned historical location into a bustling public area for social gatherings, it helps the locals rediscover their cultural history.Campus Startup Lions. Image © Aga Khan Trust for Culture / Christopher Wilton-Steer (photographer)KenyaCampus Startup Lions, in Turkana by Kéré ArchitectsKéré Architecture's Campus Startup Lions in Turkana is an educational and entrepreneurial center that offers a venue for community involvement, business incubation, and technology-driven education. The design incorporates solar energy, rainwater harvesting, and tall ventilation towers that resemble the nearby termite mounds, and it was constructed using local volcanic stone.Lalla Yeddouna Square. Image © Aga Khan Trust for Culture / Amine Houari (photographer)MoroccoRevitalisation of Lalla Yeddouna Square in the medina of Fez, by Mossessian Architecture and Yassir Khalil StudioMossessian Architecture and Yassir Khalil Studio's revitalization of Lalla Yeddouna Square in the Fez medina aims to improve pedestrian circulation and reestablish a connection to the waterfront. For the benefit of locals, craftspeople, and tourists from around the globe, existing buildings were maintained and new areas created.Vision Pakistan. Image © Aga Khan Trust for Culture / Usman Saqib Zuberi (photographer)PakistanVision Pakistan, in Islamabad by DB Studios / Mohammad Saifullah SiddiquiA tailoring training center run by Vision Pakistan, a nonprofit organization dedicated to empowering underprivileged adolescents, is located in Islamabad by DB Studios/Mohammad Saifullah Siddiqui. Situated in a crowded neighborhood, this multi-story building features flashy jaalis influenced by Arab and Pakistani crafts, echoing the city's 1960s design.Denso Hall Rahguzar Project. Image © Aga Khan Trust for Culture / Usman Saqib Zuberi (photographer)PakistanDenso Hall Rahguzar Project, in Karachi by Heritage Foundation Pakistan / Yasmeen LariThe Heritage Foundation of Pakistan/Yasmeen Lari's Denso Hall Rahguzar Project in Karachi is a heritage-led eco-urban enclave that was built with low-carbon materials in response to the city's severe climate, which is prone to heat waves and floods. The freshly planted "forests" are irrigated by the handcrafted terracotta cobbles, which absorb rainfall and cool and purify the air.Wonder Cabinet. Image © Aga Khan Trust for Culture / Mikaela Burstow (photographer)PalestineWonder Cabinet, in Bethlehem by AAU AnastasThe architects at AAU Anastas established Wonder Cabinet, a multifunctional, nonprofit exhibition and production venue in Bethlehem. The three-story concrete building was constructed with the help of regional contractors and artisans, and it is quickly emerging as a major center for learning, design, craft, and innovation.The Ned. Image © Aga Khan Trust for Culture / Cemal Emden (photographer)QatarThe Ned Hotel, in Doha by David Chipperfield ArchitectsThe Ministry of Interior was housed in the Ned Hotel in Doha, which was designed by David Chipperfield Architects. Its Middle Eastern brutalist building was meticulously transformed into a 90-room boutique hotel, thereby promoting architectural revitalization in the region.Shamalat Cultural Centre. Image © Aga Khan Trust for Culture / Hassan Al Shatti (photographer)Saudi ArabiaShamalat Cultural Centre, in Riyadh, by Syn Architects / Sara Alissa, Nojoud AlsudairiOn the outskirts of Diriyah, the Shamalat Cultural Centre in Riyadh was created by Syn Architects/Sara Alissa, Nojoud Alsudairi. It was created from an old mud home that artist Maha Malluh had renovated. The center, which aims to incorporate historic places into daily life, provides a sensitive viewpoint on heritage conservation in the area by contrasting the old and the contemporary.Rehabilitation and Extension of Dakar Railway Station. Image © Aga Khan Trust for Culture / Sylvain Cherkaoui (photographer)SenegalRehabilitation and Extension of Dakar Railway Station, in Dakar by Ga2DIn order to accommodate the passengers of a new express train line, Ga2D extended and renovated Dakar train Station, which purposefully contrasts the old and modern buildings. The forecourt was once again open to pedestrian traffic after vehicular traffic was limited to the rear of the property.Rami Library. Image © Aga Khan Trust for Culture / Cemal Emden (photographer)TürkiyeRami Library, by Han Tümertekin Design & ConsultancyThe largest library in Istanbul is the Rami Library, designed by Han Tümertekin Design & Consultancy. It occupied the former Rami Barracks, a sizable, single-story building with enormous volumes that was constructed in the eighteenth century. In order to accommodate new library operations while maintaining the structure's original spatial features, a minimal intervention method was used.Morocco Pavilion Expo Dubai 2020. Image © Aga Khan Trust for Culture / Deed Studio (photographer)United Arab EmiratesMorocco Pavilion Expo Dubai 2020, by Oualalou + ChoiOualalou + Choi's Morocco Pavilion Expo Dubai 2020 is intended to last beyond Expo 2020 and be transformed into a cultural center. The pavilion is a trailblazer in the development of large-scale rammed earth building techniques. Its use of passive cooling techniques, which minimize the need for mechanical air conditioning, earned it the gold LEED accreditation.At each project location, independent professionals such as architects, conservation specialists, planners, and structural engineers have conducted thorough evaluations of the nominated projects. This summer, the Master Jury convenes once more to analyze the on-site evaluations and choose the ultimate Award winners.The top image in the article: The Arc at Green School. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer).> via Aga Khan Award for Architecture

The Woven Apartment, designed by Khang Concept, is where the curves do the talking. The architectural forms create a statement of their own, letting understated design have its moment! The color palette is dominated by calming neutrals. Simultaneously, organic textures come together to add coziness. Whether it’s the arched details, woven finishes, or the muted palette, this home proves that minimalism doesn’t have to feel cold… it can feel like a hug. In the living room, a sculptural cream-toned sofa curves gently along the wall. This is grounded by a layered rug and organic coffee table. Floor-to-ceiling sheer curtains filter in natural light. The built-in bench seating and abstract wall art add character without clutter. The kitchen in the Woven Apartment is clean-lined and calming. It is a blend of matte cabinetry, wood textures, and soft under-cabinet lighting. The palette sticks to soothing tones, while the oversized hood and sleek open shelving bring drama. Tucked into a cozy nook, the dining area is all about organic flow. A custom-built banquette curves around a round black pedestal table, paired with a mix of rattan and sculptural chairs. A pendant lamp with natural textures floats above. This corner invites long, lingering meals and easy conversations. This bedroom is simple yet sophisticated. A soft upholstered bed adds functionality, while the wooden cabinetry provides storage space. A nightstand holds a globe lamp and a plant, adding to the decor of the otherwise minimalist room. The bedroom is a tranquil retreat. Custom wardrobes with woven panels frame a niche styled with ambient lighting. To the side, a sculptural desk with a chunky black leg and floating vanity shelves makes the space multifunctional. Natural light filters through full-length curtains, brushing softly against neutral bedding and organic textures. Playful yet polished, this bedroom features a soft, rainbow-arched headboard that adds charm. The mint green desk and sculptural shelves introduce a fun pop of color. With built-in wardrobes and a cozy workspace, it’s perfect for comfort as well as creativity. This bathroom continues the use of curves, as seen in the mirror. A terracotta-hued shower cubicle is segregated with a glass partition, keeping the space airy. The second bathroom uses the same terracotta color, but this time for the area around the vanity. This time, a curved partition separates the shower area. Matte black fixtures add visual interest.

Researchers from the National University of Singapore (NUS) have developed a 3D printed, self-powered mechanoluminescent (ML) photonic skin designed for communication and safety monitoring in underwater environments. The stretchable device emits light in response to mechanical deformation, requires no external power source, and remains functional under conditions such as high salinity and extreme temperatures. The findings were published in Advanced Materials by Xiaolu Sun, Shaohua Ling, Zhihang Qin, Jinrun Zhou, Quangang Shi, Zhuangjian Liu, and Yu Jun Tan. The research was conducted at NUS and Singapore’s Agency for Science, Technology and Research (A*STAR). Schematic of the 3D printed mechanoluminescent photonic skin showing fabrication steps and light emission under deformation. Image via Sun et al., Advanced Materials. 3D printing stretchable light-emitting skins with auxetic geometry The photonic skin was produced using a 3D printing method called direct-ink-writing (DIW), which involves extruding a specially formulated ink through a fine nozzle to build up complex structures layer by layer. In this case, the ink was made by mixing tiny particles of zinc sulfide doped with copper (ZnS:Cu), a material that glows when stretched, with a flexible silicone rubber. These particles serve as the active ingredient that lights up when the material is deformed, while the silicone acts as a soft, stretchable support structure. To make the device more adaptable to movement and curved surfaces, like human skin or underwater equipment, the researchers printed it using auxetic designs. Auxetic structures have a rare mechanical property known as a negative Poisson’s ratio. Unlike most materials, which become thinner when stretched, auxetic designs expand laterally under tension. This makes them ideal for conforming to curved or irregular surfaces, such as joints, flexible robots, or underwater gear, without wrinkling or detaching. Encapsulating the printed skin in a clear silicone layer further improves performance by distributing mechanical stress evenly. This prevents localized tearing and ensures that the light emission remains bright and uniform, even after 10,000 cycles of stretching and relaxing. In previous stretchable light-emitting devices, uneven stress often led to dimming, flickering, or early material failure. Mechanical and optical performance of encapsulated photonic skin across 10,000 stretch cycles. Image via Sun et al., Advanced Materials. Underwater signaling, robotics, and gas leak detection The team demonstrated multiple applications for the photonic skin. When integrated into wearable gloves, the skin enabled light-based Morse code communication through simple finger gestures. Bending one or more fingers activated the mechanoluminescence, emitting visible flashes that corresponded to messages such as “UP,” “OK,” or “SOS.” The system remained fully functional when submerged in cold water (~7°C), simulating deep-sea conditions. In a separate test, the skin was applied to a gas tank mock-up to monitor for leaks. A pinhole defect was covered with the printed skin and sealed using stretchable tape. When pressurized air escaped through the leak, the localized mechanical force caused a bright cyan glow at the exact leak site, offering a passive, electronics-free alternative to conventional gas sensors. To test performance on soft and mobile platforms, the researchers also mounted the photonic skin onto a robotic fish. As the robot swam through water tanks at different temperatures (24°C, 50°C, and 7°C), the skin continued to light up reliably, demonstrating its resilience and utility for marine robotics. Comparison of printed photonic skin structures with different geometries and their conformability to complex surfaces. Image via Sun et al., Advanced Materials. Toward electronics-free underwater communication While LEDs and optical fibers are widely used in underwater lighting systems, their dependence on rigid form factors and external power makes them unsuitable for dynamic, flexible applications. In contrast, the stretchable ML photonic skin developed by NUS researchers provides a self-powered, adaptable alternative for diver signaling, robotic inspection, and leak detection, potentially transforming the toolkit for underwater communication and safety systems. Future directions include enhanced sensory integration and robotic applications, as the team continues exploring robust photonic systems for extreme environments. Photonic skin integrated into gloves for Morse code signaling and applied to robotic fish and gas tanks for underwater safety monitoring. Image via Sun et al., Advanced Materials. The rise of 3D printed multifunctional materials The development of the photonic skin reflects a broader trend in additive manufacturing toward multifunctional materials, structures that serve more than a structural role. Researchers are increasingly using multimaterial 3D printing to embed sensing, actuation, and signaling functions directly into devices. For example, recent work by SUSTech and City University of Hong Kong on thick-panel origami structures showed how multimaterial printing can enable large, foldable systems with high strength and motion control. These and other advances, including conductive FDM processes and Lithoz’s multimaterial ceramic tools, mark a shift toward printing entire systems. The NUS photonic skin fits squarely within this movement, combining mechanical adaptability, environmental durability, and real-time optical output into a single printable form. Read the full article in Advanced Materials Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news. You can also follow us onLinkedIn and subscribe to the 3D Printing Industry YouTube channel to access more exclusive content. At 3DPI, our mission is to deliver high-quality journalism, technical insight, and industry intelligence to professionals across the AM ecosystem.Help us shape the future of 3D printing industry news with our2025 reader survey. Featured image shows a schematic of the 3D printed mechanoluminescent photonic skin showing fabrication steps and light emission under deformation. Image via Sun et al., Advanced Materials.

The Obalende bus terminus is one of Lagos’s most important transport nodes and a ‘graveyard’ for old danfos, which in Yoruba means ‘hurry’. These yellow‑painted minibuses form the backbone of Lagos’s informal transport system and are mostly second‑hand imports from the global north. Located in the heart of Lagos Island, Obalende is one of the first areas to be developed east of the lagoon that splits Lagos into two main halves: the Island and the Mainland. It receives a large portion of urban commuters daily, especially those entering Lagos Island for work. Obalende plays a critical role in the cycle of material reuse across the city. The life of a danfo does not end at retirement; it continues through a vast network of informal markets and recyclers that sustain entire communities. Their metal parts are either repurposed to fix other buses or sold as scrap at markets such as Owode Onirin. Located about 25km away on the Lagos Mainland, Owode Onirin, which means ‘money iron market’ in Yoruba, is a major hub for recycled metals. Waste collectors scour the city’s demolition sites for brass and mild steel; they find copper, bronze and aluminium in discarded vehicles. These materials are then processed and sold to companies such as African Foundries and Nigerian Foundries, as well as to local smiths who transform them into building parts, moulds and decorative objects. Sorters, welders and artisans form the backbone of this circular micro‑economy. Their labour breathes new life into discarded matter.  Lagos has a State Waste Management Authority, but it is fraught with politicking and inefficient in managing the city’s complex waste cycle. In the absence of intelligent state strategies, it falls on people to engineer solutions. They add armatures, build networks and modulate the static thresholds and borders imposed by the state. Today, these techniques and intelligences, born out of scarcity, are collectively labelled ‘informality’, a term that flattens their ingenuity.  Across the streets of Obalende and around its central roundabout, kiosks and pop‑up shops dominate the landscape. Most are constructed from materials such as timber reclaimed from collapsed buildings or fallen fascias, along with salvaged tarpaulins. Stones and concrete blocks found at demolition sites are moulded into anchors using discarded plastic paint buckets, serving as bases for umbrellas offering relief from the scorching Lagos sun. To anticipate flash flooding, many structures are raised slightly above ground on short stilts. Space, which is in short supply, is creatively repurposed to serve different functions at various times of the day; a single location might host breakfast vendors in the morning, fruit sellers in the afternoon and medicine hawkers at night. Due to its proximity to the city centre, Obalende experiences constant population shifts. Most entering the city at this node have no means of livelihood and often become salvagers. Under the curling ends of the Third Mainland Bridge, for example, a community of migrants gathers, surviving by scavenging motor parts, sometimes from old danfos, zinc roofing sheets and other materials of meagre value. Discarded mattresses, bedding and mosquito nets are repurposed as shelter beneath the noisy overpass, which becomes both workplace and home. In the absence of supportive state frameworks, communities like those in Obalende create micro‑responses to urban precarity. Their fluid, multifunctional spaces are adaptive and resilient architectures resulting from necessity, survival and material intelligence.  ‘Informality as a way of life is inherently circular in its use of space and materials’ In Lagos, the most populous city in Nigeria and one of the most populated in Africa, two thirds of the population live on less than US$1 a day, according to Amnesty International. This speaks not only to income levels but to multidimensional poverty. Unlike global cities such as Mumbai, Cape Town and Rio de Janeiro, where poorer demographics are largely confined to specific neighbourhoods at the margins, informality in Lagos is not peripheral but integral to how the city functions, defying the rigid thresholds and boundaries of formal urban planning.  Across Lagos, self‑sustaining circular economies flourish. Orile, a metal market located on the mainland, is one of the sites where discarded metals from sites in Lagos can be sold as part of a recycling system. Further out in the suburbs of Lagos, also on the mainland, is the Katangua Market, which is the biggest second‑hand clothes market in the city. In Nigeria’s largest hardware technology hub, Computer Village, just south of Lagos in Ikeja, used electrical and electronic equipment (UEEE) is sold for parts. A TRT World report notes that about 18,300 tonnes of UEEE arrive in Nigeria annually – although the number varies in other studies to as much as 54,000 tonnes smuggled in – with the majority coming from Europe, closely followed by the US and China.  Computer Village evolved into a dense network of shops, stalls and kiosks between 1998 and 2000, just before Nigeria adopted early digital cellular network technology. The market sits just minutes from the local airport and the Ikeja High Court, but its edges are fluid, spilling out from the Ikeja Underbridge. Over time, formal plots have dissolved into an evolving mesh of trade; the streets are lined with kiosks and carts, built from repurposed plywood, corrugated metal and tarpaulin, that come and go. Space is not owned but claimed, temporarily held, sublet and reshuffled.  Today, Computer Village generates an estimated US$2 billion in annual revenue. Yet most of the shops lack permanence and are constantly at risk of demolition or displacement. In March this year, over 500 shops were demolished overnight at Owode Onirin; in 2023, shopping complexes at Computer Village were torn down in a similar way. The state has continuously announced plans to relocate Computer Village to Katangua Market, with demolition of parts of Katangua Market itself making way for the move in 2020. Urban development patterns in Lagos prioritise formal sectors while ignoring self‑organised makers and traders. This contributes to spatial exclusion, where such communities are often under threat of eviction and relocation.  Discarded devices eventually make their way to landfills. Olusosun, in the very heart of Lagos, is one of Africa’s largest landfills. Over 10,000 tonnes of waste are delivered daily, and more than 5,000 scavengers live and work here, sifting through an artificial mountain of refuse in search of value: aluminium, copper, plastic, cloth. The waste stream, enlarged by the influx of used hardware and fast fashion from the global north, creates both livelihood and hazard. Recent studies have shown that most of the residents in and around the site are exposed to harmful air conditions that affect their lungs. Additionally, the water conditions around the site show infiltration of toxic substances. Scavengers have lost their lives in the process of harvesting metals from discarded electronics.  More than a landfill, Olusosun is a stage for the politics of waste in the global south. Poor regulation enables the flow of unserviceable imports; widespread poverty creates demand for cheap, second‑hand goods. The result is a fragile, and at times dangerous, ecosystem where the absence of the state makes room for informal innovation, such as space reuse and temporary architecture, material upcycling and recycling. In Olusosun, metals are often extracted, crushed and smelted through dangerous processes like open burning. Copper and gold harvested from the ashes then make their way back into products and institutions, such as the insets of bronze or aluminium in a piece of furniture that might eventually travel back to the global north. In its usual fashion, the government has promised to decommission the Olusosun site, but little has been seen in terms of an effective plan to repurpose the site under the state’s so‑called ‘advanced waste treatment initiative’. Informality as a way of life is inherently circular in its use of space and materials. It embodies adaptability, resilience and an intuitive response to economic and environmental conditions. The self‑built infrastructures in Lagos reveal the creativity and resilience of communities navigating the challenges of urban life. Now is the time for designers, policymakers and community leaders to work together and rethink urban development in a way that is more sustainable and responsive to the needs of the people who make cities thrive. The question is not whether informal economies will continue to exist, but how they can be designed into wider city planning – making them part of the solution, not the problem. Featured in the May 2025 issue: Circularity Lead image: Olympia De Maismont / AFP / Getty 2025-05-30 Reuben J Brown Share

ZDNET's key takeaways The Roborock Saros Z70 is now available for purchase for $2,599.The Saros Z70 is the first robot vacuum with a mechanical arm to lift lightweight objects and clean those missed areasThis robot vacuum performs impressively well, but you can expect some bugs with the OmniGrip mechanical arm function. View now at Roborock The Roborock Saros Z70 is currently on sale at Roborock for $1,999 for Memorial Day, down $600 from the usual price of $2,599.I've spent the past few years of my life turning my home into the closest version of the Jetsons' house that I can get, bypassing the midcentury decor and flying cars. While I'm pleased to report that many of the predictions made by the 1960s sitcom have materialized over the decades, many remain unrealized. The biggest one? Rosie the Robot. Also: This midrange robot vacuum cleans as well as some flagship models - and it's 50% offThankfully, many companies are rallying behind the effort to create a household assistant robot. However, after being lucky enough to test the Roborock Saros Z70 with a mechanical arm, I believe Roborock has a definite edge on the competition. While other companies have created different kinds of household robots, the Saros Z70 is a multifunctional robot that could be a stepping stone to the future of smart homes.  details View at Us.roborock The Roborock Saros Z70 is a premium robot vacuum and mop with all the bells and whistles you'd expect from a flagship, plus a mechanical arm to pick up objects. And I can't dive into a review of this product without immediately focusing on this robotic grip. When the robot vacuum is cleaning, it detects small obstacles it can handle and picks them up. The robot then navigates to a predetermined area to drop off the item. Then, the device returns to the spot the object occupied and resumes cleaning the area.  Maria Diaz/ZDNETThe Saros Z70 comes with a Roborock bin that you can place in your home for your robot to drop soft items into. It's a rigid cardboard bin that looks like a small trash bin you'd see under a desk or in a bathroom. After your robot creates a virtual map of your home, you place the bin and you add it to the map in the Roborock mobile app. You can also add a larger area for your robot to drop off other items, like slippers and light shoes. The biggest question, of course, is: does the mechanical arm work as intended? After testing it in my home, I'm pleased to report that it does -- at least the vast majority of the time.Also: I invested in this 3-in-1 robot vacuum, and it's paying off for my homeTo test the OmniGrip mechanical arm, I set out ten obstacles around the house several times and ran full cleanings. I also did smaller area cleanings with fewer objects. The robot vacuum sees the object and gives a voice prompt to announce it's going to sort an item. It deploys the mechanical arm and lines itself up to pick up the item.  The Roborock Saros Z70's OmniGrip mechanical arm can be remotely controlled to pick up and drop off items at will. Maria Diaz/ZDNETOnce the arm grips the item, the robot travels to drop it off. It lines itself up with the bin or designated sorting area and releases the object, then retracts the arm. Also: My picks for the best robot vacuums for pet hair of 2025: Roomba, Eufy, Ecovacs, and moreIn my tests, the Roborock mechanical arm picked up the intended objects 83% of the time. This is a great number for a robot that is effectively introducing this type of technology to the market. It's also a great number when you consider that the robot's initial rollout has a very limited number of items it can recognize and pick up.  Maria Diaz/ZDNETRoborock says the Saros Z70 currently recognizes socks, sandals, crumpled tissues, and towels under 300g (about eight ounces), and that new sortable objects will be added continuously via firmware updates. When I only used the recognizable objects, the robot gripped and relocated 90% of the items. When I added other small obstacles, like shoes, small cups, and plastic film, it gripped 75% of the objects.Also: This Ecovacs robot vacuum and mop is a sleeper hit, and it handles carpeting like a champAs a robot vacuum and mop, the Roborock Saros Z70's performance is outstanding -- I have zero qualms with it. It is one of the best robot vacuum and mop combos I've ever tested. It has the best obstacle avoidance feature I've seen thus far, so it doesn't get stuck on random objects, and it has an extendable mop pad to clean near edges. The robot also cleans quite thoroughly, much like the Saros 10 and Saros 10R, so you can count on it reaching pretty much every foot of your home.  Maria Diaz/ZDNETI did encounter some bugs with the robot's OmniGrip performance, but I can't fault Roborock for them. Aside from the fact that no robot vacuum is perfect (and this one nearly is), these bugs can be attributed to the fact that this is really new technology. Some bugs included the robot only vacuuming and "forgetting" to resume mopping after dropping off an object, and dropping objects that were hard to grip, like kids' water shoes.ZDNET's buying advice Maria Diaz/ZDNETThe Roborock Saros Z70 isn't the right robot vacuum for most shoppers. Instead, this robot vacuum and mop is perfect for early adopters who enjoy testing the newest cutting-edge technologies. As the first robot vacuum with a mechanical arm to be widely available on the market, you can expect to encounter bugs with the Saros Z70 -- it's only natural.Also: This robot vacuum might be better at cleaning than me - and I'm a neat freakEven so, I was thoroughly impressed with the robot's cleaning performance and the OmniGrip technology. I was also impressed with Roborock's fast and widespread launch of this robot after announcing it late last year. The Roborock Saros Z70 is the next level in robot vacuum technology, and it's pioneering the idea of a functional, multipurpose household robot that you can truly rely on.However, it is quite expensive. The Saros Z70 will vacuum and mop like the best robot vacuums on the market. But you must be aware that you're not paying for a robot vacuum alone; you're paying for the innovation of having a future-forward robot in your home.  When will this deal expire? Deals are subject to sell out or expire at any time, though ZDNET remains committed to finding, sharing, and updating the best product deals for you to score the best savings. Our team of experts regularly checks in on the deals we share to ensure they are still live and obtainable. We're sorry if you've missed out on this deal, but don't fret -- we're constantly finding new chances to score savings and sharing them with you at ZDNET.com.  Show more Featured reviews

If you've ever wondered where loofahs come from, take a trip with us.   Image: Penpak Ngamsathain / Getty Images Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. If you’ve spent most of your life under the impression that loofahs are some type of sea sponge and that these scratchy natural scrubbers are the last thing you’d want to use on your body on a daily basis, you’re not alone. But in fact, the Luffa Aegyptiaca (often known as loofah in the U.S.) is the taxonomic name of a species of gourd that grows on land, and it’s a genetic descendant of the wild cucumber. What’s more, if it’s locally grown with minimal processing, it’s plenty soft enough for not just your skin, but plenty of other applications, too. What is a luffa? In the States, you’d be excused for not being familiar with this unique plant, as luffa is far more popular in Asia and tropical regions. In fact, very few farmers grow the plant commercially for the American market—there are just two farms in the country and, according to Brooklynn Gamble, farm supervisor at The Luffa Farm in Nipomo, California, both are located in the West Coast state. But the plant isn’t endemic to countries this far north, so cultivating it requires lots of care and attention. Luffa plants growing on vines at The Luffa Farm. Image: Courtesy of The Luffa Farm Fortunately, luffa farmer Deanne Coon was willing to offer both, which is how The Luffa Farm was born in 2000 after growing the plant as part of a friend’s biology class experiment and then spending nearly two decades experimenting. Thanks to Nipomo’s location in a decidedly non-tropical climate, Coon had to account for things like cooler seasons (she grows in greenhouses), coastal winds (also greenhouses) and gophers (she grows plants in pots instead of directly in the ground).  Now semi-retired, she and a team run the small farm peppered with avocado and citrus trees and decorated with quirky custom yard art. They also offer tours during open hours so visitors can learn a little something about luffa. Guests saunter through a steamy greenhouse where long green gourds that resemble zucchini hang from trellises in impressive quantities. They learn that while some Asian cultures raise smaller varieties that are green, tender, and edible when young, it’s not popular as a culinary ingredient in the U.S. And when they inquire about why crispy brown gourds are still hanging on the vine, they learn that luffa isn’t harvested until well after you think it’s dead. “When it’s completely brown and dry we cut it off the vine,” Gamble explains. Only then, and after it is peeled, will it finally be recognizable as the fibrous exfoliating sponge many know and love. In areas of Asia, the luffa fruit is used in culinary dishes. Image: Courtesy of The Luffa Farm It’s what’s on the inside that matters Getting to that point, however, takes time and unique biological functions that aren’t visible to the naked eye. It takes six to nine months after planting luffa seeds for them to be ready to harvest, Gamble explains (longer in winter, shorter in summer). It takes three to four months just for slim green baby gourds to start sprouting from reaching vines and the male flowers, which are necessary for pollination, to bloom.  Once that happens and pollination is complete, the squash are technically edible and ripe for picking. The inner fruit tends to be slimy like okra, so it’s a bit of an acquired taste. However, there are certainly recipes from around the world that incorporate this nutritional veggie. But The Luffa Farm isn’t in the business of unpopular produce, so the fruit is left on the vine where it can grow as large and heavy as the trellised vines can handle, Gamble continues. As that happens, the interior plant fibers act as the veins that feed water and nutrients to the seeds, the care of which is the plant’s number one directive. Those veins get thicker and denser to nourish the seeds as the gourd grows. When the gourd gets too big—about the size of an oversized zucchini—the vine, which can grow 30 to 40 feet in any direction, cuts off the water supply to the whole fruit in order to redistribute resources to other plants on the vine that are still growing. “As the vine sucks the water out and recycles it, [the gourd] dries up,” Gamble describes. When that happens, instead of rotting like most other produce, the luffa turns from deep green to yellow to brown and hard. When that happens, the gourd feels light as air because all the liquid and vegetable matter has dried up, leaving only a fibrous network of cellulose inside the now-hard, shell-like skin. That’s when it’s time to harvest. The skin is cracked open and the seeds, which can be replanted, are shaken out. Harvesters soak the whole gourd in water for five minutes, which rehydrates the thin layer of vegetable residue on the underside and then “the skin so it slides right off,” Gamble says. What’s left over is an airy, light, sponge-like spidery network of plant fibers that make an excellent natural multi-purpose sponge that’s pliable when dry and even softer when wet. That’s what makes it such an attractive option among skincare enthusiasts. Not all luffa are created equal If that doesn’t sound at all like the rigid, compressed luffa you see for sale at your local health food store, you’re not wrong. Most luffa are imported, and since they’re a plant, they must be treated beforehand to ensure they won’t transport bugs, disease, or other agricultural blights, Gamble explains.  “Those heat treatments in particular are what damage the fibers,” she states. It shrinks the otherwise light and loose cellulose structures and makes the luffa hard, compact, and less pliable. Compromising the structure also makes them more prone to bacterial growth, because they don’t dry out as easily or completely between uses. Luffas grown and sold at The Luffa Farm. Image: Courtesy of The Luffa Farm Luffa grown in the U.S., like the ones from The Luffa Farm, don’t have to be treated with anything since they’re not imported from overseas. They just get a quick rinse before they’re sold. As a result, they’re softer, more pleasant on skin, more versatile, and longer lasting. One might last up to a year of regular use. Plus, because they’re highly porous, “they don’t create the same breeding ground for bacteria,” Gamble offers. A plant with unlimited uses But exfoliating isn’t all these plants are good for. On the contrary, Gamble says there are many uses for luffa. Softer varieties can be used as a facial sponge in place of a washcloth. They can even be tossed in the washer for a deep clean, though you should avoid putting them in the dryer. They make excellent dish sponges and pot scrubbers. Gamble uses one on her stainless steel stove.  A wet luffa makes quick work of washing your car, too, especially when it comes to scrubbing bugs off your grill, Gamble recommends. The fibers won’t even scratch the finish. They’ve even been used as insulation in mud brick houses and as industrial filters and may have inspired a sunlight-powered porous hydrogel that could potentially purify water. The best part: untreated luffa sponges are compostable, making them an eco-friendly alternative to synthetic sponges. “They are so unique as a plant,” Gamble says, a truly multifunctional and sustainable natural product whose uses go far beyond bath time exfoliation. And yes, it’s one that grows on land, not underwater.

Building with Communities: Rural Schools That Integrate Local Techniques and Materials in Latin AmericaSave this picture!Jerusalén de Miñaro Primary School / Semillas. Image © Eleazar CuadrosIn an effort to foster a sense of belonging among its inhabitants, to value ancestral cultures, and to preserve identity, the Latin American region embraces an architecture rich in nuances and regional characteristics. The use of local materials and construction techniques, or the dialogue between modular and vernacular approaches, among other aspects, reflect the intention to promote the involvement of native communities, students and their families, Iindigenous peoples, and local builders in the design and construction processes of a wide variety of rural schools throughout Latin America.According to the World Bank report, "Indigenous Latin America in the Twenty-First Century", it is estimated that around 42 million people belonging to indigenous communities live in Latin America. Mexico, Guatemala, Peru, and Bolivia are among the countries with the largest Indigenous populations, together accounting for over 80% of the regional total. From an architectural perspective, maintaining a dialogue that understands and respects the cultural and spiritual particularities of Indigenous peoples enables projects that preserve their identity and reflect their cultural heritage. La Piedra School by Correa 3 Arquitectos in Chile, for example, is designed for the Mapuche community of Galvarino, incorporating elements such as the circle, the cardinal points, and orthogonality, along with the integration of the sun, moon, and earth, and a space dedicated to ceremonies with the sacred Canelo tree. Beyond fulfilling educational needs, the aim is to promote equality and a connection with nature and spirituality, reflected in the circular arrangement of the classrooms and the admission of the first ray of sunlight. In this way, the fundamental elements of their worldview are embedded in the project's conception. Save this picture!Continuing within the educational context, practices such as the Semillas association in the Peruvian jungle combine community engagement and participation with the implementation of bioclimatic strategies and the use of local resources, aiming to create an architecture that is connected to its natural environment and cultural history. Understanding the role of educational infrastructure as more than just school buildings, but as versatile and multifunctional spaces with a meaningful impact on community learning and development, collective collaboration practices seek to transmit concepts and knowledge about vernacular architecture while also meeting essential needs. The use of earth, wood, bamboo, brick, caña brava, and other materials reflects the diversity of construction methods and local identities found throughout Latin America’s varied geographies. Related Article Inhabited Landscapes: 20 Cultural and Community Centers in Rural Areas Save this picture!Below, discover a selection of six rural schools located in Mexico, Peru, and Brazil that have developed initiatives to involve local communities, along with their students and families, at different stages of the design and construction process. Lightweight structures, sloped roofs, flexible enclosures, and open-plan layouts are common elements shared among these six case studies, which demonstrate a broad range of community-driven responses and interventions suited to different conditions and environments. In fact, the use of wood and bamboo stands out in both interior and exterior spaces for its application in structures, furnishings, and finishes.Rural School in Oaxaca / Territorio EstudioSan Andrés Huayapam, MexicoSave this picture!After reflecting on the nature of contemporary educational spaces, the Rural School in Oaxaca uses recycled construction materials or materials sourced from within the local community in an effort to strengthen the bond between students, their environment, and the surrounding landscape. Additionally, the program becomes entirely educational by involving students in the regenerative processes taking place in the school’s open areas, such as a wetland for water treatment, a community garden, composting, and enclosures for sheep and chickens, all of which are part of the educational approach. In this way, the mostly local teaching staff aims to promote a closer social relationship between the local population and the school space.Save this picture!El Huabo Primary and Secondary School / SemillasPeruSave this picture!In the jungle of northern Peru, the primary and secondary school for the village of El Huabo was developed through a participatory design and construction process involving the community and students. Through a carpentry workshop, students built school furniture during “Education for Work” classes (a course in the national curriculum), while landscaping workshops were held to improve the school gardens in cooperation with the La Agencia Agraria de San Ignacio. Moreover, an educational coffee farm was established thanks to collaboration with the company Volcafe. All these actions enabled multiple educational projects to run in parallel with the school’s construction, resulting in what the project team calls a “living school,” where the beneficiaries are also the creators.Save this picture!Ecoara Waldorf School / Shieh Arquitetos AssociadosValinhos, BrazilSave this picture!The Waldorf Ecoara School is an associative school where parents play an active role. As a result, a construction activity was created to foster a sense of belonging within the group. The walls were built using the traditional taipa de mão technique, which involves weaving vertical and horizontal wooden slats into the main structure to form large panels that are then filled with compacted clay. This activity, carried out by both parents and children, was both playful and symbolic. In addition, specialists in rammed earth provided hands-on training for the Ecoara community and construction workers. The idea was to promote the use of this technique, largely forgotten in its traditional form and still rarely used in its modern variant, while incorporating appropriate technological controls for the material mix.Save this picture!Jerusalén de Miñaro Primary School / SemillasSan Martín de Pangoa, PeruSave this picture!In the district of Pangoa, the project proposes an integrated work methodology involving cooperation among various national and international institutions and the community’s participation in every phase. During the diagnostic and design stages, workshops were held with students, parents, and teachers to identify the community’s needs, daily dynamics, and aspirations for the future school. Construction was guided by master builders and local workers, enabling the transfer of knowledge through on-site experience as well as training workshops throughout the process. In this way, the project initiates processes that foster knowledge exchange, revalue local material and human resources, and promote flexible spaces aligned with new educational approaches.Save this picture!Grow your School / Lucila Aguilar ArquitectosTuzantán, Chiapas, MexicoSave this picture!Aiming to improve the conditions of a school in the Unión Mexicana community in Tuzantán, Chiapas, the project combined pre-existing elements with new additions. Community volunteer participation was fundamental, as many of the construction tasks were carried out by locals. Children also took part in the rehabilitation activities by painting a mural on one of the facades. The goal was to nurture the children’s potential while fostering a sense of unity among community members, who were actively involved from the planning phase through to construction.Save this picture!Children Village / Rosenbaum + Aleph ZeroFormoso do Araguaia, BrazilSave this picture!The Children Village project advances efforts toward transformation, cultural preservation, the promotion of local building techniques, Indigenous beauty and knowledge, and the construction of a sense of belonging, vital for the development of the children at the Canuanã School. Interactive spaces such as a TV room, reading areas, balconies, patios, and hammocks make up the complementary facilities co-designed with the students to enhance quality of life and strengthen their connection to the school. In addition to housing more children, the new “villages” aim to boost the children’s self-esteem through the use of local techniques, building a bridge between vernacular methods and a new model of sustainable living.Save this picture! This article is part of an ArchDaily curated series that focuses on built projects from our database grouped under specific themes related to cities, typologies, materials, or programs. Every month, we will highlight a collection of structures that find a common thread between previously uncommon contexts, unpacking the depths of influence on our built environments. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should mention specific ideas, please submit your suggestions. Image gallerySee allShow less About this authorAgustina IñiguezAuthor••• Cite: Iñiguez, Agustina. "Building with Communities: Rural Schools That Integrate Local Techniques and Materials in Latin America" [Construir con las comunidades: escuelas rurales que integran técnicas y materiales locales en Latinoamérica] 24 May 2025. ArchDaily. (Trans. Piñeiro, Antonia ) Accessed . <https://www.archdaily.com/1030260/building-with-communities-rural-schools-that-integrate-local-techniques-and-materials-in-latin-america&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

The Resilient House Multi-Generational Housing / etal.Save this picture!© Federico FarinattiSocial Housing, Residential•München, Germany Architects: etal. Area Area of this architecture project Area:  930 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Federico Farinatti Manufacturers Brands with products used in this architecture project Manufacturers:  Persiana Barcelona More SpecsLess Specs Save this picture! Text description provided by the architects. The multi-generational house with communal forms of living was realized for and with a "Baugruppe" (a group of people who commission their own housing development, here: together with the "Mietshäuser Syndikat"- https://www.syndikat.org) in Munich, with the aim of providing long-term affordable, self-managed rental housing. Through a concept selection process, the group was selected by the city to lease the land for the next 80 years. This marks the first new construction project of the Mietshäuser Syndikat in Munich. The building is a socially subsidized residential project under the "München Modell-Genossenschaften" funding model. The cooperative planning process was facilitated by the architectural office etal. All decisions by the group were reached through a consensus-based approach.Save this picture!Save this picture!The plot, located in the southeastern part of Munich, is situated in a predominantly residential area characterized by single-family homes and terraced houses. The three-story, barrier-free building accommodates one cluster apartment on each floor, with a communal living and dining area. Each individual housing unit is equipped with its own bathroom and the possibility of a kitchenette connection. On the ground floor, a multifunctional room serves both the building's residents and the local community as a space for multifunctional purposes. The basement contains further shared spaces, including a bicycle storage area, a wood workshop, and a laundry room. The building presents a three-story facade towards the street, while the garden side features a mansard roof forming a two-story facade. The remaining roof area is extensively greened and accommodates photovoltaic panels. The building was designed as a timber construction. All above-ground floors are constructed using timber frame construction, while the elevator shafts and ceilings are made from glued laminated timber.Save this picture!Save this picture!Save this picture!The roof is designed as an open rafter structure to make it visible throughout the residential spaces of the top floor. The vertically, story-wise stacked cladding made of local spruce and steel trapezoidal sheets as weather protection for the exterior wooden sunshading defines the suspended facade. To reduce costs, the external walls, insulated with cellulose and wood wool, were constructed without an additional shell for electrical wiring. The cement screed flooring was also left visible, only being sanded and oiled. The group's desire for individual rooms of approximately equal size deeply influenced the design concept. The distinctive yet simple structure offers long-term flexibility for various forms of living. Seven rooms, each approximately 18 sqm in size, are arranged around a central hallway and a bathroom core. The water connections are positioned in such a way that kitchens can be flexibly installed in six of the rooms without significant modifications.Save this picture!Save this picture!Save this picture!Save this picture!The walls of the rooms are designed as partition walls between apartments, providing the necessary soundproofing for possible reorganizations. So-called "breakpoints" consisting of lintels and thresholds allow for the addition or removal of rooms. These elements also make the potential for alterations visible to the residents. Functional elements, such as the wooden sunshading, allow residents to carry out alterations, maintenance, or repairs themselves through simple construction and installation techniques. The participatory process and the high level of self-involvement during construction strengthened the residents' identification with their house, ensuring that the knowledge about the building's adaptability remains accessible to future generations.Save this picture! Project gallerySee allShow less Project locationAddress:Görzer Straße 128, 8154, Munich, GermanyLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeetal.Office••• MaterialsWoodSteelMaterials and TagsPublished on May 24, 2025Cite: "The Resilient House Multi-Generational Housing / etal." 24 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030454/the-resilient-house-multi-generational-housing-on-gorzer-street-etal&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream