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

As a Canadian who has spent the last two and a half years working as an intern architect in Helsinki, these questions have been on my mind. In my current role, I have had the opportunity to participate in numerous architectural competitions arranged by Finnish municipalities and public institutions. It has been my observation that the Finnish system of open, anonymous architectural competitions consistently produces elegant and highly functional public buildings at reasonable cost and at great benefit to the lives of the everyday people for whom the projects are intended to serve. Could Canada benefit from the adoption of a similar model? ‘Public project’ has never been a clearly defined term and may bring to mind the image of a bustling library for some while conjuring the image of a municipal power substation for others. In the context of this discussion, I will use the term to refer to projects that are explicitly in-service of the broader public such as community centres, museums, and other cultural venues. Finland’s architectural competition system Frequented by nearly 2 million visitors per year, the Oodi Central Library in Helsinki, Finland, has become a thriving cultural hub and an internationally recognized symbol of Finnish design innovation. Designed by ALA Architects, the project was procured through a 2-stage, open, international architectural competition. Photo by Ninara (flickr, CC BY 2.0) In Finland, most notable public projects begin with an architectural competition. Some are limited to invited participants only, but the majority of these competitions are open to international submissions. Importantly, the authors of any given proposal remain anonymous with regards to the jury. This ensures that all proposals are evaluated purely on quality without bias towards established firms over lesser known competitors. The project budget is known in advance to the competition entrants and cost feasibility is an important factor weighed by the jury. However, the cost for the design services to be procured from the winning entry is fixed ahead of time, preventing companies from lowballing offers in the hopes of securing an interesting commission despite the inevitable compromises in quality that come with under-resourced design work. The result: inspired, functional public spaces are the norm, not the exception. Contrasted against the sea of forgettable public architecture to be found in cities large and small across Canada, the Finnish model paints a utopic picture. Several award-winning projects in my current place of employment in Helsinki have been the result of successes in open architectural competitions. The origin of the firm itself stemmed from a winning competition entry for a church in a small village submitted by the firm’s founder while he was still completing his architectural studies.  At that time, many architecture firms in Finland were founded in this manner with the publicity of a competition win serving as a career launching off point for young architects. While less common today, many students and recent graduates still participate in these design competitions. On the occasion that a young practitioner wins a competition, they are required to assemble a team with the necessary expertise and qualifications to satisfy the requirements of the jury. I believe there is a direct link between the high architectural quality outcomes of these competitions and the fact that they are conducted anonymously. The opening of these competitions to submissions from companies outside of Finland further enhances the diversity of entries and fosters international interest in the goings-on of Finland’s architectural scene. Nonetheless, it is worth acknowledging that exemplary projects have also resulted from invited and privately organized competitions. Ultimately, the mindset of the client, the selection of an appropriate jury, and the existence of sufficient incentives for architects to invest significant time in their proposals play a more critical role in shaping the quality of the final outcome. Tikkurila Church and Housing in Vantaa, Finland, hosts a diverse range of functions including a café, community event spaces and student housing. Designed by OOPEAA in collaboration with a local builder, the project was realized as the result of a competition organized by local Finnish and Swedish parishes. Photo by Marc Goodwin Finland’s competition system, administered by the Finnish Association of Architects (SAFA), is not limited to major public projects such as museums, libraries and city halls. A significant number of idea competitions are organized seeking compelling visions for urban masterplans. The quality of this system has received international recognition. To quote a research paper from a Swedish university on the structure, criteria and judgement process of Finnish architectural competitions, “The Finnish (competition) experience can provide a rich information source for scholars and students studying the structure and process of competition system and architectural judgement, as well as those concerned with commissioning and financing of competitions due to innovative solutions found in the realms of urban revitalization, poverty elimination, environmental pollution, cultural and socio-spatial renewals, and democratization of design and planning process.” This has not gone entirely under the radar in Canada. According to the website of the Royal Architectural Institute of Canada (RAIC), “Competitions are common in countries such as Finland, Ireland, the United Kingdom, Australia, and New Zealand. These competitions have resulted in a high quality of design as well as creating public interest in the role of architecture in national and community life.” Canada’s architectural competition system In Canada, the RAIC sets general competition guidelines while provincial and territorial architect associations are typically responsible for the oversight of any endorsed architectural competition. Although the idea of implementing European architectural competition models has been gaining traction in recent years, competitions remain relatively rare even for significant public projects. While Canada is yet to fully embrace competition systems as a powerful tool for ensuring higher quality public spaces, success stories from various corners of the country have opened up constructive conversations. In Edmonton, unconventional, competitive procurement efforts spearheaded by city architect Carol Belanger have produced some remarkable public buildings. This has not gone unnoticed in other parts of the country where consistent banality is the norm for public projects. Jasper Place Branch Library designed by HCMA and Dub Architects is one of several striking projects in Edmonton built under reimagined commissioning processes which broaden the pool of design practices eligible to participate and give greater weight to design quality as an evaluation criterion. Photo by Hubert Kang The wider applicability of competition systems as a positive mechanism for securing better public architecture has also started to receive broader discussion. In my hometown of Ottawa, this system has been used to procure several powerful monuments and, more recently, to select a design for the redevelopment of a key city block across from Parliament Hill. The volume and quality of entries, including from internationally renowned architectural practices, attests to the strengths of the open competition format. Render of the winning entry for the Block 2 Redevelopment in Ottawa. This 2-stage competition was overseen directly by the RAIC. Design and render by Zeidler Architecture Inc. in cooperation with David Chipperfield Architects. Despite these successes, there is significant room for improvement. A key barrier to wider adoption of competition practices according to the RAIC is “…that potential sponsors are not familiar with competitions or may consider the competition process to be complicated, expensive, and time consuming.” This is understandable for private actors, but an unsatisfactory answer in the case of public, tax-payer funded projects. Finland’s success has come through the normalization of competitions for public project procurement. We should endeavour to do the same. Maintaining design contribution anonymity prior to jury decision has thus far been the exception, not the norm in Canada. This reduces the credibility of the jury without improving the result. Additionally, the financing of such competitions has been piece-meal and inconsistent. For example, several world-class schools have been realized in Quebec as the result of competitions funded by a provincial investment.  With the depletion of that fund, it is no longer clear if any further schools will be commissioned in Quebec under a similar model. While high quality documentation has been produced, there is a risk that developed expertise will be lost if the team of professionals responsible for overseeing the process is not retained. École du Zénith in Shefford, Quebec, designed by Pelletier de Fontenay + Leclerc Architectes is one of six elegant and functional schools commission by the province through an anonymous competition process. Photo by James Brittain A path forward Now more than ever, it is essential that our public projects instill in us a sense of pride and reflect our uniquely Canadian values. This will continue to be a rare occurrence until more ambitious measures are taken to ensure the consistent realization of beautiful, innovative and functional public spaces that connect us with one another. In service of this objective, Canada should incentivize architectural competitions by normalizing their use for major public projects such as national museums, libraries and cultural centres. A dedicated Competitions Fund could be established to support provinces, territories and cities who demonstrate initiative in the pursuit of more ambitious, inspiring and equitable public projects. A National Competitions Expert could be appointed to ensure retention and dissemination of expertise. Maintaining the anonymity of competition entrants should be established as the norm. At a moment when talk of removing inter-provincial trade barriers has re-entered public discourse, why not consider striking down red tape that prevents out-of-province firms from participating in architectural competitions? Alas, one can dream. Competitions are no silver bullet. However, recent trials within our borders should give us confidence that architectural competitions are a relatively low-risk, high-reward proposition. To this end, Finland’s open, anonymous competition system offers a compelling case study from which we would be well served to take inspiration. Isaac Edmonds is a Canadian working for OOPEAA – Office for Peripheral Architecture in Helsinki, Finland. My observations of the Finnish competition system’s ability to consistently produce functional, beautiful buildings inform my interest in procurement methods that elevate the quality of our shared public realm. The post Op-Ed: Could Canada benefit from adopting Finland’s architectural competition system? appeared first on Canadian Architect.

Ookwemin Minising Aerial photo with project area outline. Credit: Waterfront Toronto Global professional services company, GHD, and Danish nature-based design studio, SLA, have been awarded the role of prime consultant by Waterfront Toronto for phase one of infrastructure and streetscape design for a new island community. Formerly known as Villiers Island, Ookwemin Minising is a new island born from an ambitious flood protection and river restoration project. The Don River, a historic gathering place, will be at the heart of this future community. The island, which is planned to be home to more than 15,000 people, will also be a destination where people will visit to relax and explore. The first new residents of this island community are expected to move in by 2031. For the project, GHD, the prime consultant and technical lead, and SLA, design lead for urban realm and landscape, will deliver a new urban environment that aims to honour the legacy of the Don River through an approach rooted in resilient infrastructure, cultural memory and deep ecological integration. Drawing inspiration from global precedents and local Indigenous knowledge, the team’s “Growing Streets” concept proposes streetscapes that evolve like living ecosystems. “This project represents a significant milestone for Toronto’s waterfront revitalization,” said Chris Hunter, GHD chief executive officer for the Americas. “By integrating innovative engineering with responsive design, our team will help create infrastructure that’s not just functional, but truly adaptive to community needs while honoring the ecological transformation nearing completion at the Don River mouth. This approach exemplifies our commitment to building resilient systems that evolve with the communities they serve.” The team, which includes architects Allies and Morrison, will integrate design for streetscapes and public realm with a review of the density and built form on the island, building on years of planning to realize this new neighbourhood. “Tri-government investment unlocked the potential of the Port Lands, allowing us to create a brand new island,” says Chris Glaisek, chief planning and design officer at Waterfront Toronto. “Now, renewed investment in waterfront revitalization means this new island is ready to launch. By integrating design for streets and public realm with a review of built form on the island, this team can build on the planning done by the City of Toronto, Waterfront Toronto and CreateTO to deliver as much new housing as possible, while building a truly world-class neighbourhood.” At the heart of the team’s vision for Ookwemin Minising lies a next-practice model for climate-adaptive urbanism. Guided by seven core principles, including surface-level rainwater management, soil repurposing, native vegetation and social spaces that foster mobility and interaction, the design will champion active mobility through integrated pedestrian and biodiversity corridors woven throughout the island. These corridors can provide optimal microclimates for outdoor comfort while managing storm water, linking and strengthening ecologies and connecting people with nature. Informed by leading examples from cities like Copenhagen, Oslo, and London, the design will seek to maximize sustainability without relying on future technologies. “We’re thrilled to bring our Growing Streets vision to life in Toronto,” said Rasmus Astrup, design principal and partner at SLA. “This is urban design at its most alive – where trees, water, wind, soil and people grow and flow together. The streetscape design of Ookwemin Minising is not just about infrastructure, it’s about creating a living cityscape that breathes with the seasons, nurtures biodiversity and supports everyday life in inspiring, joyful ways. In Ookwemin Minising, every street becomes a celebration – of the land, of the water, of our heritage and of all the life of Toronto.” The infrastructure designs for Ookwemin Minising will incorporate  plantings, nature-integrated public seating, and climate-buffering vegetation to create a vibrant and adaptive civic experience. The team envisions a design that would build public awareness of ecological processes while enhancing urban resilience and well-being. The vision embraces a holistic design approach that integrates street configurations, building scales, and public spaces to create a cohesive and sustainable community. Rooted in the values of the surrounding Port Lands and celebrating the area’s enduring industrial, maritime and Indigenous histories, the team’s design for Ookwemin Minising will aim to set a new benchmark for culturally and ecologically responsive waterfront development in North America. The project will be brought to life by a group of industry-leading consultants, including:  GHD (prime consultant): Engineering design services, planning services, environmental services and construction administration SLA: Design lead for urban realm and landscape Trophic Design: Co-designer with SLA for Indigenous landscape design and knowledge Transsolar: Sustainability and low-carbon infrastructure systems Monumental Projects: Public engagement and community outreach Level Playing Field: Accessibility services Allies and Morrison: Architectural lead   The post GHD and SLA teaming up to deliver major infrastructure design for Toronto’s newest island appeared first on Canadian Architect.

Longchamp has reintroduced its iconic SoHo flagship, unveiling a bold new chapter in its architectural and artistic journey. Nestled in the heart of downtown Manhattan, the La Maison Unique boutique has been transformed into a space that merges retail with an immersive cultural experience – offering more than shopping, but a deep dive into the brand’s design philosophy, legacy, and creative ambition. At the core of this reimagining is the rekindled collaboration between Longchamp and celebrated British designer Thomas Heatherwick. Nearly two decades after his original work on the space, Heatherwick returns to re-envision the site with a fresh narrative. The result is a compelling blend of artistry, innovation, and Parisian warmth, translated into architectural form. The redesign honors the bones of the original building while elevating its purpose. One of the most striking updates is the reinterpreted central staircase. Originally made of steel ribbons, it has been reborn in Longchamp’s signature green – a vibrant pathway of swooping planes that guides visitors up from the ground floor, like ascending a hill. The dramatic feature sets the tone for the boutique’s organic, flowing atmosphere. Above, the retail space has been crafted to feel less like a store and more like an upscale, lived-in loft. Round rugs in rich green tones spill from carpeted columns across warm wood floors, creating a dynamic interplay of texture and form. Vintage and bespoke furnishings – like a 1970s croissant sofa by Raphaël Raffel and sculptural works by David Nash – anchor the room with both history and originality. Longchamp’s ties to the art world are on full display throughout the store. The brand’s private collection, along with newly commissioned pieces, gives the space a gallery-like feel. Highlights include ceramics and sculptures from artists such as Dorothée Loriquet, Bobby Silverman, and Tanaka Tomomi. Their works echo Longchamp’s commitment to natural materials, tactile surfaces, and organic design. In a deliberate shift from traditional retail layout, the central area has been opened to encourage conversation. Instead of focusing solely on product display, the well-lit space invites guests to linger and connect, mirroring the rhythm of a Paris apartment transplanted to a New York context. The visual storytelling continues with intentional quirks: neon signage, hand-drawn graffiti by artist André, and archive objects that trace Longchamp’s early heritage as a maker of leather tobacco accessories and travel games. These nostalgic elements add to the space, providing a bridge between past and present. This revitalization is part of a larger movement within the brand to reshape the in-store experience. It reflects a shift in luxury retail – from transactional to experiential. By creating a space where design, storytelling, and sensory detail converge, Longchamp is championing a new kind of flagship – one rooted in memory and human connection. “Retail moves fast, but architecture should last. We wanted to create something bold and joyful, yet warm and timeless – an apartment-like space that invites people to stay,” Heatherwick Studio partner Neil Hubbard says. “From the swirling green rugs under green-carpeted columns to curved furniture that feels custom but lived-in, everything was designed to feel unified and human. Even the red brick walls downstairs, set to host rotating installations, help ground the space in SoHo’s industrial roots while creating room for surprise.”

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

Pavilion of Estonia Let Me Warm You Biennale Architettura 2025 / Keiti Lige + Elina Liiva + Helena MännaSave this picture!© Joosep KivimäePavilion•Venezia, Italy Architects: Year Completion year of this architecture project Year:  2025 Photographs Photographs:Joosep KivimäeMore SpecsLess Specs Save this picture! Text description provided by the architects. The Ministry of Culture of Estonia presents the installation and exhibition "Let me warm you" www.letmewarmyou.com curated by architects Keiti Lige, Elina Liiva, and Helena Männa, the Pavilion of Estonia at the 19th International Architecture Exhibition of La Biennale di Venezia (May 10th - November 23rd, 2025). The Pavilion explores whether current insulation-driven renovations are merely a compliance measure to meet European energy targets or if they can serve as an opportunity to enhance the spatial and social quality of mass housing districts. To highlight this issue, the Estonian Pavilion will cover the facade of a Venetian building with insulation panels, the same practice used in Estonia for mass housing. The palazzetto is located in Riva dei Sette Martiri 1611 in the waterfront between Corso Garibaldi and the Giardini, within the Castello neighborhood (Address: Riva dei Sette Martiri 1611, Castello, Venice). On the ground floor of the same building, a room, wrapped in plastic film, will host an exhibition showing how social dynamics within different stakeholders have an effect on spatial solutions.Save this picture!Save this picture!Save this picture!"With this project, we question whether insulation is just a bureaucratic checkbox for meeting EU targets or a real chance to tackle social and spatial challenges. It exposes the clash between bold global ambitions and the everyday realities of people navigating collective decisions." — assert curators Keiti Lige, Elina Liiva, and Helena Männa. In order to cope with climate change, one half of the world is installing ever-thicker insulation layers, while the other half is using increasingly powerful cooling systems. As Europe races toward its transition to climate neutrality by 2050, Estonia has an ambitious goal, pledging to upgrade all the apartment buildings pre-2000 to at least energy efficiency class C. This sweeping renovation effort is part of a larger European movement to modernize aging housing stock in response to the climate crisis. However, insulation should not be treated as a mere quick fix, a 'bandage,' but rather a meaningful upgrade in quality of life. Given the high costs and long-term impact of these renovations, the real challenge is finding a balance between ambitious climate policies and the everyday needs of the people who live in these spaces.Save this picture!Installations - The installation, mounted directly onto the existing building's façade, will use the same materials and design elements typically found in Estonian renovations. Set against the ornate architecture of Venice, this stark contrast serves as a powerful visual statement. In Estonia, Soviet-era apartment block renovations often proceed with little to no architectural input, reinforcing a problematic disregard for the character and potential of these spaces. By juxtaposing a fiber cement-clad façade with Venice's rich historic fabric, the installation aims to spark a dialogue between inhabitants and architects about the cities and spaces we aspire to live in.Save this picture!Save this picture!Exhibition - On the ground floor of the palazzetto, an exhibition will delve into the social forces shaping renovation decisions. In Estonia, where most apartment buildings are privately owned, renovation choices are often driven by financial constraints, leaving little room for spatial improvements beyond insulation. The exhibition space (an existing apartment) itself will be wrapped in plastic film, symbolizing the relentless push for renovation while exposing how technical fixes often overshadow the deeper connections and real needs people have with their homes. At its centre, a model of a Soviet-era housing block brings human interactions to the forefront, using theatrical dialogues and exaggerated spatial outcomes to depict how different relationships and interactions have their impact on space. By shining a light on the complexities of collective living and renovation decisions, the exhibition invites visitors to reflect on the tension between policy-driven energy goals and the lived realities of those affected by them. The exhibition is accompanied by a catalogue that captures the tragicomedy of an apartment building in six scenes. Based on real people's stories, it explores themes ranging from the fear of change to the revitalization of the neighborhood.Save this picture!The Biennale Architettura 2025 is curated by architect Carlo Ratti under the theme "Intelligens. Naturale. Artificiale. Collettiva.", and will be about the built environment as one of the largest contributors to atmospheric emissions, placing architecture among the main culprits in the degradation of our planet. As the climate crisis accelerates, architects must offer solutions, substantial and non-cosmetic, effective, and quick to achieve. In this sense, the Estonian exhibition responds to Ratti's call for pavilions: "This year's head theme offers good ground to discuss what happens to architecture when the Architect is excluded from the process. Renovation processes that are planned by residents themselves according to their best knowledge provide a good example of how collective intelligence, or lack of it, affects our spatial environment. The Estonian Pavilion gives the message that the architectural quality of the living environment should not be overlooked in renovation processes," explains Johanna Jõekalda, advisor on architecture and design at the Ministry of Culture of Estonia, Commissioner of the Estonian Pavilion. With "Let me warm you", visitors to the Biennale Architettura 2025 will actively engage with the pavilion and the building. By rethinking renovation strategies, Estonia could set an example for Europe: transforming outdated housing not just for energy efficiency, but for a more sustainable and livable future.Save this picture! Project gallerySee allShow less Project locationAddress:Venezia, ItalyLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeKeiti LigeOffice•••Elina LiivaOffice•••Helena MännaOffice••• MaterialsWoodPlasticMaterials and TagsPublished on May 27, 2025Cite: "Pavilion of Estonia Let Me Warm You Biennale Architettura 2025 / Keiti Lige + Elina Liiva + Helena Männa" 27 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030040/pavilion-of-estonia-let-me-warm-you-biennale-architettura-2025-keiti-lige-plus-elina-liiva-plus-helena-manna&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

Doom: The Dark Ages just launched on May 15. But it's already received "difficulty" balance changes "that have made the demons of Hell even more dangerous than ever," writes Windows Central: According to DOOM's official website Slayer's Club, these balance adjustments are focused on making the game harder, as players have been leaving feedback saying it felt too easy even on Nightmare Mode. As a result, enemies now hit harder, health and armor item pick-ups drop less often, and certain enemies punish you more severely for mistiming the parry mechanic. It reached three million players in just five days, which was seven times faster than 2020's Doom: Eternal," reports Wccftech (though according to analytics firm Ampere Analysis (via The Game Business), more than two million of those three million launch players were playing on Xbox, while only 500K were playing on PS5.") "id Software proves it can still reinvent the wheel," according to one reviewer, "shaking up numerous aspects of gameplay, exchanging elaborate platforming for brutal on-the-ground action, as well as the ability to soar on a dragon's back or stomp around in a giant mech." And the New York Times says the game "effectively reinvents the hellish shooter with a revamped movement system and deepened lore" in the medieval goth-themed game... Double jumping and dashing are ditched and replaced with an emphasis on raw power and slow, strategic melee combat. Doom Slayer's arsenal features a brand-new tool, the powerful Shield Saw, which Id Software made a point to showcase across its "Stand and Fight" trailers and advertisements. Used for absorbing damage at the expense of speed, the saw also allows players to bash enemies from afar and close the gap on chasms too wide to jump across. While previous titles allowed players to quickly worm their way through bullet hell, The Dark Ages expects you to meet foes head on. "If you were an F-22 fighter jet in Doom Eternal, this time around we wanted you to feel like an Abrams tank," Hugo Martin, the game's creative director, has told journalists. And Doom Slayer's beefy durability and unstoppable nature does make the gameplay a refreshing experience. The badassery is somehow ratcheted to new heights with the inclusion of a fully controllable mech, which has only a handful of attacks at its disposal, and actual dragons. Flight in a Doom game is entirely surprising and fluid, and the dragons feel relatively easy to maneuver through tight spots. They can also engage in combat more deliberately with the use of dodges and mounted cannons... One of my favorite additions is the skullcrusher pulverizer. Equal parts heinous nutcracker and demonic woodchipper, the gun lodges skulls into a grinder and sends shards of bones flying at enemies. The animation is both goofy and satisfying. Another special Times article notes that Doom's fans "resurrect the original game over and over again on progressively stranger pieces of hardware: a Mazda Miata, a NordicTrack treadmill, a French pharmacy sign." But what many hard-core tech hobbyists want to know is whether you can play it on a pregnancy test. The answer: positively yes. And for the first time, even New York Times readers can play Doom within The Times's site [after creating a free account]... None of this happened by accident, of course. Ports were not incidental to Doom's development. They were a core consideration. "Doom was developed in a really unique way that lent a high degree of portability to its code base," said John Romero, who programmed the game with John Carmack. (In our interview, he then reminisced about operating systems for the next 14 minutes.) Id had developed Wolfenstein 3D, the Nazi-killing predecessor to Doom, on PCs. To build Doom, Carmack and Romero used NeXT, the hardware and software company founded by Steve Jobs after his ouster from Apple in 1985. NeXT computers were powerful, selling for about $25,000 apiece in today's dollars. And any game designed on that system would require porting to the more humdrum PCs encountered by consumers at computer labs or office jobs. This turned out to be advantageous because Carmack had a special aptitude for ports. All of Id's founders met as colleagues at Softdisk, which had hired Carmack because of his ability to spin off multiple versions of a single game. The group decided to strike out on its own after Carmack created a near-perfect replica of the first level of Super Mario Bros. 3 — Nintendo's best-selling platformer — on a PC. It was a wonder of software engineering that compensated for limited processing power with clever workarounds. "This is the thing that everyone has," Romero said of PCs. "The fact that we could figure out how to make it become a game console was world changing...." Romero founded a series of game studios after leaving Id in 1996 and is working on a new first-person shooter, the genre he and Carmack practically invented. He has no illusions about how it may stack up. "I absolutely accept that Doom is the best game I'll ever make that has that kind of a reach," he said. "At some point you make the best thing." Thirty years on, people are still making it. And in related news, PC Gamer reports... As part of a new "FPS Fridays" series on Twitch, legendary shooter designer John Romero streamed New Blood's 2018 hit, Dusk, one of the first and most influential indie "boomer shooters" in the genre's recent revitalization. The short of it? Romero seems to have had a blast. Read more of this story at Slashdot.