CWA negotiates new contract for ZeniMax including "substantial" wage increases and a credits policy for QA staff "This agreement shows what's possible when workers stand together and refuse the status quo." Image credit: Microsoft News by Vikki Blake Contributor Published on May 31, 2025 The Communications Workers of America (CWA) says it has reached a "historic tentative contract agreement" with ZeniMax Media staff at Microsoft. In a statement, the union calls the deal a "first for the video game industry", and revealed it had been negotiating for a first contract for "nearly two years". "QA workers from across the country continue to lead the charge for industry-wide change," said Page Branson, Senior II QA Tester and ZeniMax Workers United-CWA bargaining committee member. "Going toe-to-toe with one of the largest corporations in the world isn’t a small feat. This is a monumental victory for all current video game workers and for those that come after." Xbox currently has more first-party games coming to PlayStation 5 this year than Sony.Watch on YouTube The new contract is said to set "new standards for the industry" and includes "substantial across-the-board wage increases as well as new minimum salaries for workers". It also includes protections against arbitrary dismissal, grievance procedures, and a crediting policy that "clearly acknowledges the QA workers' contributions to the video games they help create", as well as a previously announced agreement on how artificial intelligence is introduced and implemented in the workplace. "Workers in the video game industry are demonstrating once again that collective power works. This agreement shows what's possible when workers stand together and refuse to accept the status quo," added CWA President Claude Cummings Jr. "Whether it's having a say about the use of AI in the workplace, fighting for significant wage increases and fair crediting policies, or protecting workers from retaliation, our members have raised the bar. We're proud to support them every step of the way." BREAKING: We have reached a historic first tentative contract agreement with Microsoft! cwa-union.org/news/release...[image or embed]— CWA (@cwaunion.bsky.social) May 30, 2025 at 5:04 PM To see this content please enable targeting cookies. Members can expect contract explanation meetings over the next few weeks, and a ratification vote is expected by 20th June. As game development becomes increasingly insecure all over the world, more and more developers and performers are organising collective bargaining. Following news of the SAG-AFTRA strike last year, Equity stated it stood "in solidarity", but would not be authorising a strike. It did, however, recently call on the games industry to improve conditions for performers, and a protest took place outside BAFTA Games Awards as Equity members held placards reading "Union contracts in gaming now". Last month, the US union warned of "alarming loopholes" for "AI abuse" in the latest proposal to end industrial action, while earlier this month, almost 200 Overwatch developers working at Activision Blizzard joined the Communications Workers of America (CWA) union after the "overwhelming majority" of workers signed up.

Casa SA207 | © Diego Vázquez Mellado Casa SA207 by Vázquez Mellado is situated in the historic city of Querétaro, Mexico, on a narrow site measuring 8.70 meters in width and extending 37 meters in depth. The lot’s proportions posed a particular challenge, which the architects addressed by drawing inspiration from the traditional courtyard houses in Querétaro’s historic center. In these historic residences, the courtyard, or patio, serves as a passive climate moderator and a spatial and social nucleus. Casa SA207 revisits this typology through a contemporary lens, offering a nuanced response to privacy, density, and domesticity in the urban fabric. Casa SA207 Technical Information Architects1-3: Vázquez Mellado Location: Querétaro, Mexico Area: 362.47 m2 | 3,900 Sq. Ft. Completion Year: 2025 Photographs: © Diego Vázquez Mellado The patio is not just a spatial element but the heart of the home. It welcomes, shelters, and connects, offering a sense of peace and belonging within the density of the city. – Diego Vázquez Mellado Casa SA207 Photographs © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado Spatial Organization and Domestic Hierarchies The project’s street-facing façade is entirely closed off, with no visible windows or apertures. This gesture reinforces privacy and anonymity within the city while turning the house inward. At the rear of the property, the architects introduced a direct connection to a neighboring public park, anchoring the residence within both private and communal realms. The courtyard, centrally within the linear plan, acts as a fulcrum that mediates light, views, and circulation. It is both the spatial heart and the conceptual axis of the home. The house is organized into a two-level scheme, with the ground floor dedicated to shared family life and the upper floor reserved for private functions. The spatial strategy intentionally encourages daily activity and interaction on the ground level. The living and dining rooms are placed at the far end of the house, adjacent to the public park. These areas are balanced by a kitchen and TV room positioned toward the front of the lot. Both rooms are oriented toward the central courtyard, promoting visual connectivity and natural ventilation. On the upper level, bedrooms and a modest study are distributed linearly. These spaces are compact by design, reinforcing their function as retreats for rest and contemplation rather than prolonged daytime activity. The reduced footprint of the upper floor emphasizes the hierarchy of domestic life envisioned by the architects: a house where familial engagement and collective routines unfold at ground level and where privacy is quiet and unobtrusive. The courtyard acts as the project’s spatial and psychological anchor. Its tall enclosing walls and dense vegetation cultivate a sense of introspection, calm, and disconnection from the surrounding city. It is not merely a source of daylight or ventilation but a place of stillness, where time slows, and attention turns inward. Materiality and Constructive Logic The project is defined materially by the use of clay brick, chosen for its durability, thermal properties, and ability to age gracefully over time. This decision reflects a clear commitment to low-maintenance living and constructive honesty. The brick’s modularity also provides flexibility for future adaptations without disrupting the architectural language of the house. One of the project’s defining features is the 6-meter-high wall that borders the courtyard. This vertical surface acts as a visual barrier while allowing the interior spaces to remain open to the patio without compromising privacy. The wall also contributes to a sense of enclosure and sanctuary within the house, allowing residents to draw their curtains or leave them open without concern for external views. Throughout the project, the material palette is restrained, composed primarily of exposed brick, wood, and concrete. This simplicity reinforces the architectural clarity of the design and allows spatial relationships to take precedence over decorative elements. The detailing is modest and measured, aligning with the overall ethos of the project. Reflections on Typology and Contemporary Living Casa SA207 thoughtfully explores the courtyard as an enduring architectural typology. By foregrounding the patio not just as a design feature but as the organizing principle of the entire house, the architects offer a model for contemporary living that prioritizes inwardness, serenity, and slow rhythms. The house precisely negotiates the tension between urban density and domestic refuge, creating a spatial narrative grounded in tradition and responsive to present-day needs. The project demonstrates how compact urban living does not necessitate compromise in spatial quality. Through careful program, form, and material orchestration, Casa SA207 invites reconsidering how architecture can shape the conditions for a more deliberate and connected way of living. In its restraint, the house resists spectacle and offers a quiet, rigorous architecture rooted in site, culture, and human experience. Casa SA207 Plans Ground Level | © Vázquez Mellado Upper Level | © Vázquez Mellado Roof Level | © Vázquez Mellado Section | © Vázquez Mellado Elevation | © Vázquez Mellado Casa SA207 Image Gallery About Vázquez Mellado Vázquez Mellado is a Mexican architectural design studio based in Querétaro. They are known for their thoughtful reinterpretation of traditional typologies through contemporary forms and materials. Led by Jorge and Diego Vázquez Mellado, the firm explores spatial intimacy, privacy, and material honesty across residential and cultural projects. Credits and Additional Notes Lead Architects: Jorge Vázquez Mellado, Diego Vázquez Mellado Collaborators: Elvia Torres, Adelfo Pérez, Norma Velázco, Jorge Uribe Landscape Design: Matorral Estudio

UPDATE: When questioned today whether he has the power to tariff only one company, Trump replied that this edict applies to any smartphone maker. "It would be more. It would be also Samsung and anybody that makes that product; otherwise, it wouldn't be fair," he said.Trump says he's setting an end-of-June deadline, but it's unclear if that deadline is for a commitment from these companies to build smartphone factories in the US or actually seeing phones roll off production lines. According to analyst Ming-Chi Kuo, "Moving all iPhone assembly for US models back to the US before Trump’s term ends is unrealistic." "I had an understanding with Tim that he wouldn't be doing this," Trump said of Apple's plan to build iPhones in India versus China. When asked why he thinks Apple can build a phone in the US without raising prices, Trump argued that "a lot of [the production] is computerized now. These plants are amazing, if you look at them," adding, "If they're going to sell it in America, I want it to be built in the United States. They're able to do that."Kuo says, "Apple’s top priority in negotiations with Trump should be finding ways to avoid, delay, or prevent higher iPhone tariffs. For example, Apple could adjust its DEI policies to secure Trump’s temporary commitment to hold off on targeting them.Original Story:President Trump kicked off Memorial Day weekend by threatening to impose a 25% tariff on Apple unless it produces its iPhones in the US. "I have long ago informed Tim Cook of Apple that I expect their iPhone’s [sic] that will be sold in the United States of America will be manufactured and built in the United States, not India, or anyplace else," Trump posted on Truth Social. "If that is not the case, a Tariff of at least 25% must be paid by Apple to the US. Thank [you] for your attention to this matter!"Separately, Trump posted that the European Union "has been very difficult to deal with," and said he is "recommending a straight 50% Tariff on the European Union," starting June 1.'India Can Take Care of Themselves'Apple has long produced most of its iPhones in China via manufacturing partners like Foxconn, though it has taken steps to diversify. Amid the threat of Trump's tariffs, the highest of which were imposed on China, Apple moved much of its US-based iPhone production to India. "For the June quarter, we do expect the majority of iPhones sold in the US will have India as their country of origin," Cook said in an April earnings call. Most iPads, Macs, and Apple Watch devices sold in the US will come from Vietnam. “China would continue to be the country of origin for the vast majority of total product sales outside the US,” Cook added. That didn't sit well with Trump, who said last week that he called Cook to complain about Apple moving production to India. "We put up with all the plants you built in China for years," he told reporters during a recent trip to the Middle East. "We are not interested in you building in India. India can take care of themselves. They are doing very well. We want you to build [in the US]."Apple didn't immediately respond to a request for comment. Recommended by Our EditorsSmartphones are currently exempt from Trump's tariffs, but that could change soon.Is $500 Billion Not Enough?In February, Apple said it would invest more than $500 billion in the US over the next four years. The money will be used to build a server manufacturing facility in Houston, produce silicon chips in Arizona, establish a manufacturing academy in Detroit, and create 20,000 new jobs. But moving iPhone production to the US is probably an unrealistic and expensive goal. Analyst Ming-Chi Kuo suggests that "in terms of profitability, it's way better for Apple to take the hit of a 25% tariff on iPhones sold in the US market than to move iPhone assembly lines back to US." For now, a lot of Apple-based production in the US is being done via partnerships."We're excited about bringing more production to the US," Cook said during that earnings call. "As you know, we've been very key in the TSMC project in Arizona and are the largest and first customer getting product out of that.""During calendar year 2025, we expect to source more than 19 billion chips from a dozen states, including tens of millions of advanced chips being made in Arizona this year," Cook added. "We also source glass used in iPhone from an American company. All told, we have more than 9,000 suppliers in the US across all 50 states."TSMC, however, is warning that tariffs could hamper its expansion plans in Arizona. "Diminished demand could create uncertainty around the timeline for the construction and operation of our Arizona fabs. It could also undermine TSMC’s financial capacity to timely execute its ambitious Arizona project,” the company said in a letter to the US Commerce Department, which sought public comment on the US potentially tariffing foreign-made semiconductors to help encourage domestic chip manufacturing. A year ago, TSMC said it would receive $11.6 billion in US government funding via the 2022 CHIPS and Science Act signed by President Biden, with $6.6 billion of that as grants and the remaining $5 billion as loans.A $2,300 iPhone? Trump's post suggests that iPhones will be subject to tariffs regardless of their country of origin, which could be costly for those looking to upgrade to the iPhone 17 later this year. Rumors already indicate Apple is considering a price increase for its next-gen phones, which it is trying not to tie publicly to tariffs. In April, an analyst from Rosenblatt Securities tells Reuters that tariffs could increase the cost of producing iPhones by up to 43%, putting the high-end iPhone at $2,300 if Apple passes all the extra costs on to consumers.The White House is currently trying to broker individual trade deals with countries around the globe. Thus far, it's announced one with the UK and paused tariffs on China while it negotiates. In the EU, however, Trump says, "Our discussions with them are going nowhere!"Trump claims the US has a trade deficit of more than $250 million with the EU, "which is totally unacceptable," he said. The only way for the EU to avoid US tariffs is to produce its products in the US.

Cabin in Woods | © Egemen Karakaya Set on the Kozak Plateau near Pergamon in western Turkey, Cabin in Woods by Ediz Demirel Works presents a compelling investigation into the relationship between architecture, landscape, and inhabitation. Modest in scale but conceptually rigorous, the 36-square-meter structure explores dualities in materiality, spatial experience, and construction technique. Its design resists conventional tropes of vernacular mimicry, opting instead for conscious contrast. This architectural gesture neither disappears into the land nor dominates it but negotiates a dynamic tension between embeddedness and autonomy. Cabin in Woods Technical Information Architects1-2: Ediz Demirel Works Location: Kozak Plateau, Pergamon, Izmir, Turkey Area: 36 m2 | 387 Sq. Ft. Completion Year: 2025 Photographs: © Egemen Karakaya The identity of the structure is shaped by the interplay of two opposing tectonic approaches in terms of materials, construction techniques, production methods, and the contrast between locality and foreignness. – Ediz Demirel  Cabin in Woods Photographs © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya Design Intent and Conceptual Framework The cabin occupies a terrace wall from a former vineyard, utilizing the dry stone retaining wall as a literal and conceptual foundation. This gesture roots the project within the existing agricultural topography, establishing a minimal intervention approach. Yet from this grounded base, the cabin rises as an artificial insertion. Its steel frame and corten cladding introduce a formal and material vocabulary foreign to the rural surroundings, underscoring a deliberate dialectic between context and object. At the heart of the project is a sunken conversation pit, an introspective space that anchors the plan and serves as the primary social node. This recessed area draws the inhabitant downward into the landscape, offering a tactile and spatial contrast to the protective shell above. The lowered core reframes domesticity in spatial terms, allowing for a gathering space that privileges horizontality, intimacy, and thermal mass. Around this core, other functional programs such as wet areas, storage, and circulation are deployed as appendages. Above, a mezzanine floor is delicately inserted within the steel shell, creating zones for sleeping and working without compromising the spatial clarity of the core below. Spatial Organization and Experiential Strategy Despite its compact footprint, the cabin achieves a high degree of spatial complexity. This is accomplished not through planimetric manipulation but through sectional richness and the careful calibration of views, light, and thresholds. A singular horizontal aperture cuts through the shell, framing a panoramic view of the forested hills. This gesture provides more than visual access; it actively orchestrates a dialogue between the interior and the broader ecological context. The facade, punctuated with small cantilevered openings, introduces sculptural moments that protrude into the landscape. These elements operate simultaneously as light sources, thermal breaks, and spatial cues. They animate the exterior envelope while mediating the inhabitant’s sensory experience from within. The strategy reveals an architectural sensibility attuned to the nuances of perception, perspective, and phenomenology. The sunken core, in particular, reinforces this experiential ambition. It is not merely a spatial curiosity but a site of temporal deceleration, a hearth-like void where fire, conversation, and reflection converge. In this sense, the project subtly reinvigorates domestic rituals through spatial articulation, encouraging modes of living that prioritize gathering and grounding over visual spectacle. Material Strategy and Construction Logic The architectural language of Cabin in Woods is structured around a deliberate contrast between local, irregular materials and prefabricated, controlled systems. The foundation, comprising a reinforced concrete slab cast directly into the existing dry stone terrace, extends the material logic of the landscape. This decision grounds the structure physically and symbolically, linking it to the region’s vernacular heritage. Conversely, the corten steel cladding and the structural steel frame are fabricated off-site and assembled locally. This bifurcation in construction methods aligns with the project’s conceptual division. The base engages the earth and honors the irregularity of place, while the shell expresses a technological detachment and formal precision. With its evolving patina and atmospheric depth, the use of corten adds a layer of temporal expression to the architectural language. It ages, oxidizes, and marks time, introducing a poetic dimension to the otherwise industrial envelope. Such a contrast is not merely aesthetic. It reflects a broader interrogation of architectural identity—how buildings can simultaneously belong, estrange, settle, and provoke. The tectonic opposition between ground and shell becomes a vehicle for this inquiry, inviting reflection on how architecture positions itself in relation to site and memory. Contextual and Critical Significance Beyond its immediate programmatic function as a short-term rental, Cabin in Woods engages with urgent disciplinary questions. How should contemporary architecture respond to rural contexts without defaulting to nostalgia? How can compact dwellings foster depth of experience without resorting to over-programming? And how might architecture embrace contradiction as a generative force rather than a problem to be resolved? Ediz Demirel’s response is measured yet assertive. Rather than dissolving into the landscape, the cabin asserts its autonomy while acknowledging the terrain. The project frames its site not as a passive backdrop but as an active participant in the architectural narrative. Its minimal footprint, precise detailing, and tectonic clarity demonstrate how small-scale interventions can yield disproportionately rich spatial and conceptual outcomes. Cabin in Woods Plans Floor Plan | © Ediz Demirel Works Section | © Ediz Demirel Works Elevations | © Ediz Demirel Works Details | © Ediz Demirel Works © Ediz Demirel Works Cabin in Woods Image Gallery About Ediz Demirel Works Ediz Demirel Works (EDWorks) is an Istanbul-based architectural studio founded in 2022 by Ediz Demirel. The practice focuses on small to medium-scale projects integrating design, construction, and development. EDWorks emphasizes material experimentation, site-specific strategies, and balancing traditional craftsmanship and contemporary tectonics. Notable projects include Cabin in Woods and Pergamon House in the Izmir region. The studio’s approach reflects a commitment to architectural clarity and contextual sensitivity. Credits and Additional Notes Design Architect: Ediz Demirel Site Architects: Ediz Demirel, Tuna Ökten

SAG-AFTRA files unfair labour practice charge against Fortnite maker Epic, following AI-generated Darth Vader voice lines The actors strike back. Image credit: Epic News by Victoria Kennedy News Reporter Published on May 20, 2025 SAG-AFTRA has filed an unfair labour practice charge against Fortnite maker Epic, following its use of AI to recreate James Earl Jones' voice for Darth Vader. Prior to his death, actor Jones - who along with Darth Vader also lent his vocal stylings to Disney's The Lion King as Mufasa - gave permission for his voice to be replicated using AI, and technology was used to generate Vader's voice in the Disney+ show Obi-Wan Kenobi. Jones' AI-powered voice as the Star Wars Sith Lord then cropped up again last week, this time in Fortnite, where players could chat with Darth Vader via Epic's online game. The AI-generated voice used in Fortnite arrived with permission from Jones' family, who said they hoped the collaboration with Epic would "allow both longtime fans of Darth Vader and newer generations to share in the enjoyment of this iconic character". However, soon players began using the technology to get Darth to cuss, resulting in Epic swiftly issuing a hotfix to stop this from happening. Now, American actors' union SAG-AFTRA - which represents 160,000 American media professionals, including voiceover artists - has filed an unfair labour practice charge with the NLRB against Llama Productions, which is wholly owned by Epic Games. The union stated the company "chose to replace the work of human performers with AI technology… without providing any notice of their intent to do this and without bargaining with us over appropriate terms". In a statement shared last night, SAG-AFTRA said it "[celebrates] the right of our members and their estates to control the use of their digital replicas", and that it welcomes " the use of new technologies to allow new generations to share in the enjoyment of those legacies and renowned roles". However, the organisation believes it must still protect its "right to bargain terms and conditions around uses of voice that replace the work of our members". It noted this includes actors who have also worked to replicate "Darth Vader's iconic rhythm and tone in video games". In its filing - which you can read here - SAG-AFTRA said Llama Productions via Epic "failed and refused to bargain in good faith with the union", and it did this by "making unilateral changes to terms and conditions of employment, without providing notice to the union or the opportunity to bargain, by utilising AI-generated voices to replace bargaining unit work" for Fortnite. Eurogamer has reached out to Epic for comment on SAG-AFTRA's filing. Image credit: Epic Games Actors from SAG-AFTRA have been on strike since July, as the union negotiates with various video game companies on the Interactive Media Agreement. AI has been one of the biggest sticking points of the strikes. Earlier this year, Mass Effect voice actor Jennifer Hale spoke to Eurogamer about why the strike remains ongoing. "It's a huge issue for all of us and the repercussions are vast," she said. "So to me, it makes sense that everyone needs to take their time. As performers - and we saw this in the writers strike and the theatrical contract strike - we're just the canary in the coal mine."

North Boulder Library / WORKacSave this picture!© Bruce DamonteLibrary•Boulder, United States Architects: WORKac Area Area of this architecture project Area:  12800 ft² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Bruce Damonte Manufacturers Brands with products used in this architecture project Manufacturers:  ELEVATE, Holcim, Alucobond, American Hydrotech, Daltile, Forbo, Guardian Glass , InCord, Kawneer, Montel, Overhead Door Corp., Swing Set Mall, Wilsonart More SpecsLess Specs Save this picture! Text description provided by the architects. The Boulder Public Library issued an open Request for Proposal (RFP) in 2018 for a new branch library in North Boulder, a project the community had anticipated for over two decades. The RFP called for an "iconic" building, which many competitors interpreted as a visually striking design. However, WORKac www.work.ac - the architecture firm based in New York City and led by Amale Andraos and Dan Wood - proposed a vision where the library's iconic status would stem from its sustainability and its positive impact on the community and environment.Save this picture!Save this picture!Save this picture!This innovative approach resonated with the library. The building stands out as an original project rooted in WORKac's significant past experiences. Andraos and Wood have always been deeply committed to issues in education, a dedication that culminated in Andraos' role as Dean of the Graduate School of Architecture, Planning and Preservation (GSAPP) at Columbia University, where Dan Wood is an Associate Adjunct Professor. At the time this project was commissioned, their Kew Gardens Hills Library in Queens, NY had just recently opened, a source of pride for its community, and their joyful Miami Museum Garage - which inventively transforms the simple and often frustrating act of parking a car into an unexpected opportunity for social interaction - had reached wide international resonance.Save this picture!Save this picture!Rooted in community engagement - The North Boulder Library is situated within a diverse neighborhood that blends new developments for young professionals, art studios, galleries, and two manufactured home communities that include Boulder's largest Spanish-speaking population. The chosen site is a triangular plot bordered by Broadway to the west and Three Mile Creek to the south, with stunning views to the Boulder Flatirons. WORKac's approach to the project was deeply rooted in community engagement.Save this picture!Save this picture!WORKac worked for almost eight years on the project, including a three-year Community Engagement and Site Planning process, which entailed more than twenty public presentations of the design during different phases to community groups, politicians, and stakeholders. More than 3,000 people attended the opening ceremony on June 29, 2024. "Today and every day we endeavor to render architecture more human, to turn the pragmatic fantastic, and to reclaim the 'best' in 'best practice' away from the technocratic and towards the creative. We approach every project, regardless of scale, program, type or context with the same passion, drawing resolute realism together with polemical optimism," say Amale Andraos and Dan Wood.Save this picture!Site, Program and Architecture - Boulder's unique geographical position at the intersection of the Rocky Mountains and the Great Plains has historically shaped its rugged architectural vernacular. The North Boulder Library design celebrates this context, acknowledging the area's complex relationship with the natural environment. Through its connections with the urban surroundings, the library not only reflects its environment but also enhances its visual and functional relationship with the local community.Save this picture!The design of the North Boulder Library was directly informed by the community's input, leading to the inclusion of key programs such as Boulder Reads, which supports literacy development for children and adults, and a "Maker Kitchen," which evolved from the community's desire for a maker space together with ideas for a community garden and kitchen area. "Our greatest delight is for others to feel a sense of joy, of belonging, and of possibilities for the future," state the architects.Save this picture!The building negotiates the triangular site that includes a seasonal creek running diagonally through it with a building that respects the scale of its residential neighbors to the north while opening up to views of the Flatiron Mountains and Rocky Mountain foothills to the south and west. The library is designed with the major community spaces on the second floor. The lower northern side integrates a shallow, fully- accessible ramp that allows these second-floor community and ESL classrooms to open at night when the library is closed, reinforcing the library's role as a community hub. This ramp is enhanced by a public art installation by Montreal-based Daily tous les jours that plays music as users ascend or descend. Despite its modest size, the building has four entrances and a variety of public spaces that seamlessly extend outdoors, connecting with both the residential neighborhood to the north and the Fourmile Canyon Creek park to the south.The building's design is both intriguing and unexpected. Its irregular geometry, a convergence of triangular forms, mirrors and influences the internal layout. This interplay of shapes creates a series of surprising spatial experiences.Save this picture!Save this picture!The main public floor is divided into a large reading room for adult patrons and a children's area with a private nook for story-reading and windows onto a slide that can be accessed through a rope climbing structure, allowing kids to climb up through the building and slide down into the library's new playground. Other key areas on the ground floor include the Maker Kitchen, which connects to an edible garden and playground, and large windows that offer breathtaking views of the mountains. The interior design incorporates custom elements like a wallpaper by graphic designer Andrew Freeman, principal at afreeman, featuring historical photos from Boulder's archives, celebrating the region's indigenous heritage. The building's exposed ceiling structure adds to the space's acoustic performance and aesthetic richness.Save this picture!WORKac's architecture is both unpretentious and inspiring. It embodies a sense of freedom that invites people to engage with the space and take ownership of it. This approach reflects a profound commitment to civic responsibility. Sustainability is a central focus of the project, with initial plans aiming for net-zero energy. Although some features were scaled back due to the COVID-19 pandemic and subsequent economic challenges, Boulder's stringent sustainability regulations ensured that the library maintained its high green building standards. A rooftop solar array supplies a significant portion of the building's energy, while the site includes a rainwater garden planted with native, butterfly-attracting flowers and shrubs to protect the seasonal creek from runoff.Save this picture!A testament to the power of thoughtful design - The North Boulder Library is a testament to the power of thoughtful, community-driven design. Despite a modest budget, WORKac has created a building that is both beautiful and functional, serving as a model for equitable public architecture. Funded entirely by the City of Boulder, the library stands as a beacon of progressive values, sustainability, and community engagement, reflecting the spirit of the city it serves. WORKac is the recipient of the 2023 Arts and Letters Award in Architecture, a prestigious honor given by the American Academy of Arts and Letters to recognize exceptional American architects whose work embodies artistic excellence and has made a significant impact on the field of architecture. They are currently working on the Beirut Art Museum in Lebanon and projects at Vassar College, including a renovation to its main library.Save this picture! Project gallerySee allShow less Project locationAddress:Boulder, United StatesLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeWORKacOffice••• MaterialSteelMaterials and TagsPublished on May 14, 2025Cite: "North Boulder Library / WORKac" 14 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030123/north-boulder-library-workac&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 SoftBank CFO said OpenAI's planned restructuring with the nonprofit keeping control is something that was expected.