html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Japanese architect Shigeru Ban has created the Blue Ocean Dome (BOD) for the Osaka-Kansai Expo 2025, addressing the urgent issue of marine plastic pollution and raising crucial awareness about it.Named Blue Ocean Dome, the pavilion stands out with its innovative design, comprising three distinct dome types: Dome A, Dome B, and Dome C. Each dome is specifically crafted to host captivating installations and dynamic exhibitions, promising an unforgettable experience for all visitors throughout the event. Image © Taiki FukaoThe project was commissioned by the Zero Emissions Research and Initiatives (ZERI), a global network of creative minds, seeking solutions to the ever increasing problems of the world.Rather than outright rejecting plastic, the pavilion inspires deep reflection on how we use and manage materials, highlighting our critical responsibility to make sustainable choices for the future.The BOD merges traditional and modern materials—like bamboo, paper, and carbon fiber reinforced plastic (CFRP)—to unlock new and innovative architectural possibilities.Dome A, serving as the striking entrance, is expertly crafted from laminated bamboo. This innovative design not only showcases the beauty of bamboo but also tackles the pressing issue of abandoned bamboo groves in Japan, which pose a risk to land stability due to their shallow root systems.Utilizing raw bamboo for structural purposes is often difficult; however, through advanced processing, it is transformed into thin, laminated boards that boast strength even greater than that of conventional wood. These boards have been skillfully fashioned into a remarkable 19-meter dome, drawing inspiration from traditional Japanese bamboo hats. This project brilliantly turns an environmental challenge into a sustainable architectural solution, highlighting the potential of bamboo as a valuable resource.Dome B stands as the central and largest structure of its kind, boasting a remarkable diameter of 42 meters. It is primarily constructed from Carbon Fiber Reinforced Polymer (CFRP), a cutting-edge material revered for its extraordinary strength-to-weight ratio—four times stronger than steel yet only one-fifth the weight. While CFRP is predominantly seen in industries such as aerospace and automotive due to its high cost, its application in architecture is pioneering.In this project, the choice of CFRP was not just advantageous; it was essential. The primary goal was to minimize the foundation weight on the reclaimed land of the Expo site, making sustainability a top priority. To mitigate the environmental consequences of deep foundation piles, the structure had to be lighter than the soil excavated for its foundation. CFRP not only met this stringent requirement but also ensured the dome's structural integrity, showcasing a perfect marriage of innovation and environmental responsibility.Dome C, with its impressive 19-meter diameter, is crafted entirely from paper tubes that are 100% recyclable after use. Its innovative design features a three-dimensional truss structure, connected by elegant wooden spheres, evoking the beauty of molecular structures.To champion sustainability and minimize waste following the six-month Expo, the entire BOD pavilion has been meticulously designed for effortless disassembly and relocation. It is anchored by a robust steel foundation system and boasts a modular design that allows it to be conveniently packed into standard shipping containers. After the Expo concludes, this remarkable pavilion will be transported to the Maldives, where it will be transformed into a stunning resort facility, breathing new life into its design and purpose.Recently, Shigeru Ban's Paper Log House was revealed at Philip Johnson's Glass House Venue. In addition, Ban installed his Paper Partition Shelters (PPS) for the victims of the Turkey-Syria earthquake in Mersin and Hatay provinces of Turkey.All images © Hiroyuki Hirai unless otherwise stated.> via Shigeru Ban Architects 

The desert that surrounds Taliesin West, Frank Lloyd Wright’s winter home and studio, is no stranger to camping. Which is perhaps why it is the perfect place to unveil the Airstream Frank Lloyd Wright Usonian Limited Edition Travel Trailer, a new collaboration between the architect’s eponymous foundation and the American travel trailer brand.When Wright arrived in the Sonoran Desert in December of 1937, he made two purchases. First, 600 acres of land, on which Taliesin West would eventually sit. Then, shortly after, a handful of tents for his apprentices to sleep in while they helped build the new property. Even once construction finished, it became a tradition that his disciples would build temporary shelters among the cacti, bushes, and sandy soil. “This was a camp, and Wright was moved by the way canvas from the tents diffused light. That’s what inspired the canvas roofs on Taliesin West today,” Sally Russel, the director of licensing at the Frank Lloyd Wright Foundation, said at a press briefing at Taliesin West about the trailer.You might also like: What Was It Like Living at Frank Lloyd Wright’s Taliesin West?The trailer door features a pattern called the Gordon Leaf motif, which was created by Taliesin apprentice Eugene Masselink. Photo: Andrew PielageCoincidentally, Airstream’s founder, Wally Byam, began designing trailers for people who didn’t like sleeping on the ground in tents—a sect his first wife belonged to. Nearly 100 years later, the Usonian trailer lets owners enjoy the desert (or any part of the world) Wright-style, while still taking advantage of modern comforts like a bed, shower, and kitchen. “I’ve been dropping the idea of a Frank Lloyd Wright trailer into the thought mill at Airstream for about 20 years,” Bob Wheeler, the president and CEO of Airstream, said at the briefing.The kitchen includes under cabinet lighting and warm, wood-toned cabinets. Photo: Andrew PielageInside the Frank Lloyd Wright AirstreamAt just over 28 feet long, the trailer is among the larger of Airstream’s offerings, which range from 16 to 33 feet. From the outside, the company’s instantly recognizable aluminum shell offers little evidence of the idiosyncrasy that’s on full display inside. But from the moment the door opens—which is printed with a leaf motif designed by a Taliesin apprentice—Wright’s influence is all encompassing.You might also like: 7 Stylish Mobile Homes Owned by Celebrities

We’re delighted to reveal Monsters are Coming! Rock & Road, the next game from Ludogram, is being published by Raw Fury!  Just announced during The Mix Summer Game Showcase with a rip-roaring trailer, Monsters are Coming! Rock & Road is what we’re describing as a ‘Tower-Survivor’ game, mashing up tower defense with a horde survivor.   If you’re already liking what you’re seeing and hearing, you can sign up to the Closed Beta test which we’re aiming to start later this month. Just fill out the form here.  But let’s break this down and give you a grander overview of what the game is all about  Monsters are Coming: Rock & Road is an action rogue-lite where you begin each run controlling a peon, tasked with fighting back hordes and hordes (and hordes) of monsters attacking from all sides!  But the peon’s true objective is to protect a moving city – even at the expense of their own life – all while making sure its path isn’t obstructed by the environment, gathering enough resources to expand its potential. So where peons can respawn if they fall in battle, it’s only when the city is destroyed that your run is over!  Fortunately, the city can also protect itself through archery outposts, necromancy towers and even fire-breathing dragons. As long as you’ve got the coin, wood, gems and stone to fulfil the requirements, you can build a real fortress of destruction! Resources, by the way, you’ll have to gather while fighting and protecting the city, balancing risk versus reward.  Defeated monsters drop gems which you use to power up. And off the beaten path you can find even more, unexpected ways to give your Peon an edge in battle.   But despite the fast and furious pace of MaC: R&R, you will be able to find some respite at shelters. Here, you can take some time to decide what to spend your newfound wealth on and add even rarer buildings to your arsenal. Some of which affect your gold in-take or damage output, but you can also build towers that freeze monsters or spawn additional minions to repel the continued invasion.   Should you be defeated, at the end of each run you can also use your built up experience and resources to add permanent upgrades to your peon and city.   As you try to fight through four biomes, finding the right city build, selecting integral attributes to help you reach the Arch, you’ve definitely got your work cut out for you against some of the deadliest creatures you’ve had the misfortune to encounter.   Join the hordes BlueSky https://bsky.app/profile/monsterscoming.bsky.social Twitter https://x.com/_MonstersComing Discord https://discord.gg/mqnTkZBf The post Monsters are Coming! Rock & Road Announced at The Mix appeared first on Raw Fury.

The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei Studio (as curated by Colony) Maggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax.

June 2, 20253 min readThe World Isn’t Ready for the Mental Health Toll of Extreme HeatTemperatures are rising, and so are mental health risksBy Madhusree Mukerjee edited by Dean VisserA man walks with an umbrella to protect himself from the heat as a yellow alert is issued by the UK Health Security Agency (UKHSA) due to increasing temperatures in London, United Kingdom on June 25, 2024. Rasid Necati Aslim/Anadolu via Getty ImagesThe coming summer is forecast to be a scorcher across the U.S. And climate scientists predict that at least one of the next five years will beat 2024 as the hottest year ever recorded globally. As heat waves are getting more intense and prolonged, their effect on the mind and body are also becoming more dire. Children and older people, as well as those who work outdoors, are most at risk. So are those with mental health disorders.Heat waves are the single highest cause of weather-related deaths in the U.S., where an estimated 1,300 fatalities from heat stroke and other temperature-related complications occur every year. Even those who survive a period of extreme heat may suffer serious neurological or other mental-health-related disorders.A new study published in Current Environmental Health Reports finds that the world is startlingly unprepared to deal with the mental health consequences of climate change. Of 83 action plans for heat-related health problems that were reviewed for the study, fewer than a third acknowledged the mental health effects of extreme or prolonged high temperatures. And only a fifth of these plans outlined specific actions to deal with contingencies such as increased hospitalizations for mental health disorders.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.How does extreme heat affect the brain?The human body operates optimally at 98.6 degrees Fahrenheit (37 degrees Celsius). If a person doesn’t drink enough water when the weather is hot and dry, the body becomes dehydrated, the blood thickens, and the heart may not be able to pump enough oxygen to the brain. Additionally, the human brain burns up 20 percent of the body’s energy and therefore needs to dissipate heat efficiently. In hot and humid conditions, sweating cannot cool the body and brain enough. This can lead to heat exhaustion, which has symptoms such as weakness, dizziness and headaches and, in extreme cases, heat stroke—which can then trigger delirium and loss of consciousness. A significant fraction of heat stroke survivors suffer neurological complications.Exposure to extreme heat can also increase the risk of suicide and can worsen schizophrenia, epilepsy, anxiety, depression, substance use disorder, neurodegenerative disorders (such as Alzheimer’s disease) and negative emotions such as fear and anger. It may worsen sleep, which, in turn, can increase fatigue and impair cognition. Alcohol and recreational drugs, as well as certain medications used to treat mental illness, such as antidepressants, tranquilizers and antipsychotics, also appear to increase mental health vulnerability to heat.Studies find an increased risk of suicide and epileptic seizures during heat waves, as well as an increase in hospitalizations and emergency-room visits for mental health disorders. Heat can also disorient thinking, making people slow to realize that they need to seek shelter or help.Who is most at risk?The most vulnerable are those with existing mental health disorders. Disturbingly, prolonged heat waves also appear to worsen the risk among young children—and even the unborn—of developing mental health ailments in the future. Older people may also be particularly affected, such as by accelerated dementia and Alzheimer’s.At particular risk are vast populations around the world who live without air-conditioning, including poor or homeless people and those who work outdoors, such as on farms.What can be done?The authors of the new Current Environmental Health Reports study point to interventions at several levels to help communities and individuals most at risk of climate mental health impacts. These can include public awareness campaigns, such as warning people about the mental health risk of consuming alcohol or other drugs during heat waves. Other interventions include establishing community cooling shelters for heat emergencies and increasing monitoring of mental health patients during heat waves. Extreme heat is here to stay, at least for the foreseeable future. We need to prepare people and communities to reduce the risk of mental health emergencies.IF YOU NEED HELPIf you or someone you know is struggling or having thoughts of suicide, help is available. Call or text the 988 Suicide & Crisis Lifeline at 988 or use the online Lifeline Chat.

In our June issue Our June issue looks at the housing spectrum, with a particular focus on non-market and affordable housing. Odile Hénault starts our journey in Montreal, where two shelters—Le Christin by Atelier Big City and Les Studios du PAS by L. McComber in collaboration with Inform—offer dignity to people experiencing homelessness. We next travel to Beaverton Heights, a transitional housing project in the Region of Durham, Ontario. Designed by Montgomery Sisam Architects, the complex addresses the often-invisible homelessness of a rural area, and expands the aesthetic possibilities of modular construction. In Toronto, we visit Gerrard Healthy Housing by Atkinson Architect, which aims to add gentle density to an established neighbourhood. We also tour Anduhuaun, LGA Architectural Partners’ shelter for Indigenous women, which offers a place of nurture and grounding for its clients. LGA Architectural Partners is the coordinating firm behind the new Canadian Housing Catalogue, a repository of designs for multi-family homes. John Lorinc examines the catalogue’s potential for widespread uptake. Our long-read this month is a report by Yellowknife-based Kristel Derkowski on the driving factors behind the Northern housing crisis—and ways to start addressing it. In this month’s AIA Canada Society Journal, a quartet of Canadian educators explore how architecture schools are contributing to addressing the housing affordability crisis through research, studios, and hands-on initiatives. On the other end of the housing spectrum, Adele Weder visits Revery Architecture’s The Butterfly and First Baptist Church. She looks at how the striking landmark delivers tangible benefits for both residents and the wider public. Our issue is rounded out by an obituary for Dick Mah Sai-Chew (1928-2025), and reviews of books on the history of the barrack, James Strutt’s round houses, and sustainable housing in a circular economy. -Elsa Lam, editor The post June 2025 appeared first on Canadian Architect.

View of the south façade before construction of a new residential project that now conceals Le Christin from Boulevard René Lévesque. PROJECT Le Christin, Montreal, Quebec ARCHITECT Atelier Big City PHOTOS James Brittain   PROJECT Les Studios du PAS, Montreal, Quebec ARCHITECT L. McComber in collaboration with Inform  PHOTOS Ulysse Lemerise   Nighttime, April 15, 2025. A thousand volunteers are gathering in Montreal, part of a province-wide effort to try and put numbers on a growing phenomenon in cities like Vancouver, Calgary, Toronto, and many others. The volunteers are getting ready to walk around targeted areas in downtown Montreal and around certain subway stations. Temporary shelters are also visited. First conducted in the spring of 2018, this survey showed that 3,149 people were in a vulnerable situation at the time. Four years later, a similar effort revealed that Montreal’s homeless population had risen to 4,690 people—and that there were some 10,000 people experiencing homelessness in the whole of the province. The 2025 numbers are expected to be significantly higher. For the organizers, this one-night snapshot of the situation is “neither perfect nor complete.” However, for nonprofit organizations and governmental bodies eager to prevent a vulnerable population from ending up on the streets, the informal census does provide highly valuable information.  Two recent initiatives—very different from one another—offer inspiring answers. The most recent one, Le Christin, was designed by Atelier Big City (led by architects Anne Cormier, Randy Cohen, and Howard Davies) and inaugurated in 2024. Studios du PAS, on the other hand, was designed by Montreal firm L. McComber, and welcomed its first tenants in 2022. Both projects involved long-standing charities: the 148-year-old Accueil Bonneau, in the case of Le Christin, and the 136-year-old Mission Old Brewery for Studios du PAS. Le Christin was spearheaded, and mostly financed, by the Société d’habitation et de développement de Montréal (SHDM), a non-profit, para-municipal corporation created in 1988. Studios du PAS was first selected by the City of Montreal to be built thanks to the Rapid Housing Initiative (RHI) program run by the Canada Mortgage and Housing Corporation (CMHC). Le Christin also received a financial contribution from the CMHC towards the end of the process. Boldly coloured blind walls signal the presence of Le Christin in the center of a densely occupied city block, with entrance to the left along Sanguinet Stree. Le Christin Although sited in a very central location, near the buzzing St. Catherine and St. Denis streets, Le Christin is hard to find. And even when one suddenly spots two seven-storey-high walls, coloured lemon-zest yellow and mango orange, it’s difficult to figure out what they are about. A stroll along the tiny Christin Street finally reveals the front façade of this new facility, now home to some of Montreal’s most vulnerable citizens.  View of Le Christin’s modulated front façade. Galvanized steel panels at ground level add a soft touch while protecting the building from potential damage caused by snow plows. Le Christin is unique for a number of reasons. First among them is its highly unusual location—at the centre of a dense city block otherwise occupied by university buildings, office towers, and condo blocks. Until a few years ago, the site was home to the four-storey Appartements Le Riga. The Art Deco-style building had been built in 1914 by developer-architect Joseph-Arthur Godin, who was a pioneer in his own right: he was one of the first in Montreal to experiment with reinforced concrete structures, a novelty in the city at the time. A century later, Le Riga, by then the property of SHDM, was in serious need of repair. Plans had already been drafted for a complete renovation of the building when a thorough investigation revealed major structural problems. Tenants had to leave on short notice and were temporarily relocated; the building was eventually demolished in 2019. By that time, Atelier Big City had been mandated to design a contemporary building that would replace Le Riga and provide a “place of one’s own” to close to 150 tenants, formerly homeless or at risk of becoming so.    Le Christin – Site Plan and Ground Floor Plan The entire operation sparked controversy, particularly as Le Christin started to rise, showing no sign of nostalgia. The architects’ daring approach was difficult to fathom—particularly for those who believe social housing should keep a low profile.  The program, originally meant for a clientele of single men, gradually evolved to include women. In order to reflect societal trends, the architects were asked to design 24 slightly larger units located in the building’s east wing, separated from the rest of the units by secured doors. Thus, Le Christin is able to accommodate homeless couples or close friends, as well as students and immigrants in need. A tenants-only courtyard is inserted in the south façade. In order to provide the maximum number of units requested by SHDM, each of the 90 studios was reduced to 230 square feet—an adjustment from Atelier Big City’s initial, slightly more generous plans. In a clever move, an L-shaped kitchen hugs the corner of each unit, pushing out against the exterior wall. As a result, the window openings recede from the façade, creating a sense of intimacy for the tenants, who enjoy contact with the exterior through large windows protected by quiet Juliet balconies. Far from damaging the initial design, the added constraint of tightened units allowed the architects to modulate the building’s façades, creating an even stronger statement. On the unit levels, corridors include large openings along the south façade. Each floor is colour-coded to enliven the space; overhead, perforated metal plates conceal the mechanical systems. An extra floor was gained thanks to the decision to expose the various plumbing, electrical, and ventilation systems. Well-lit meeting rooms and common areas are found near Le Christin’s front entrance, along with offices for personnel, who are present on the premises 24 hours a day. Apart from a small terrace above the entrance, the main exterior space is a yard which literally cuts into the building’s back façade. This has a huge impact on the interiors at all levels: corridors are generously lit with sunlight, a concept market developers would be well advised to imitate. The adjacent exit stairs are also notable, with their careful detailing and the presence of glazed openings.  The fire stairs, which open onto the exterior yard at ground level, feature glazing that allows for ample natural light. Le Christin has achieved the lofty goal articulated by SHDM’s former director, architect Nancy Schoiry: “With this project, we wanted to innovate and demonstrate that it was possible to provide quality housing for those at risk of homelessness.” The low-slung Studios du PAS aligns with neighbourhood two-storey buildings. Studios du PAS In sharp contrast with Le Christin’s surroundings, the impression one gets approaching Studios du PAS, 14 kilometres east of downtown Montreal, is that of a small town. In this mostly low-scale neighbourhood, L. McComber architects adopted a respectful, subdued approach—blending in, rather than standing out.  The project uses a pared-down palette of terracotta tile, wood, and galvanized steel. The footbridge links the upper level to shared exterior spaces. The financing for this small building, planned for individuals aged 55 or older experiencing or at risk of homelessness, was tied to a highly demanding schedule. The project had to be designed, built, and occupied within 18 months: an “almost impossible” challenge, according to principal architect Laurent McComber. From the very start, prefabrication was favoured over more traditional construction methods. And even though substantial work had to be done on-site—including the installation of the roof, electrical and mechanical systems, as well as exterior and interior finishes—the partially prefabricated components did contribute to keeping costs under control and meeting the 18-month design-to-delivery deadline. Les Studios du PAS The building was divided into 20 identical modules, each fourteen feet wide—the maximum width allowable on the road. Half the modules were installed at ground level. One of these, positioned nearest the street entrance, serves as a community room directly connected to a small office for the use of a social worker, allowing staff to follow up regularly with tenants. Flooded with natural light, the double-height lobby provides a friendly and inclusive welcome. The ground level studios were designed so they could be adapted to accommodate accessibility needs. Some of the ground floor units were adapted to meet the needs of those with a physical disability; the other units were designed to be easily adaptable if needed. All studio apartments, slightly under 300 square feet, include a full bathroom, a minimal kitchen, and sizeable storage space hidden behind cabinet doors. Most of the apartments include a small exterior alcove, which provides an intimate outdoor space while creating a subtle rhythm along the front façade. Inside the studio units, storage cupboards for clothes and belongings were added as an extension of the kitchen wall. Conscious of the tradition of brick residential buildings in Montreal, yet wanting to explore alternate materials, the architects selected an earth-toned terracotta tile from Germany. The 299mm x 1500mm tiles are clipped to the façade, allowing for faster installation and easier maintenance. All units enjoy triple-glazed windows and particularly well insulated walls. A high-performance heat pump was installed to lower energy demand—and costs—for heating and cooling needs. Wood siding was used to soften the upper-level balconies, which provide protected outdoor spaces for residents.   Pride and Dignity Le Christin and Les Studios du PAS have little in common—except, of course, their program. Architecturally speaking, each represents an interesting solution to the problem at hand. While Le Christin is a high-spirited, flamboyant statement, Studios du PAS is to be praised for its respectful attitude, and for the architects’ relentless search for interesting alternatives to traditional construction norms. Atelier Big City is one of few firms in Canada that has the guts—and the talent—to play with bold colours. Decades of experimentation (not just with public buildings, but also within their own homes), led up to Le Christin, which is perhaps their strongest building to date. Their judicious choices of colour, brick type, and materials transmit a message of pride and dignity. Both projects demonstrate enormous respect and generosity to their residents: they provide architecture that treats them not as an underclass, but as regular people, who need the stability of dignified housing to start rebuilding their lives. Odile Hénault is a contributing editor to Canadian Architect.   Le Christin CLIENT Société d’habitation et de développement de Montréal (SHDM) | ARCHITECT TEAM Anne Cormier, Randy Cohen, Howard Davies, Fannie Yockell, Gabriel Tessier, Sébastien St-Laurent, Lisa Vo | STRUCTURAL DPHV | MECHANICAL/ELECTRICAL BPA | CIVIL Genexco | LIGHTING CS Design | AREA 4,115 m2 | Construction BUDGET $18.9 M | COMPLETION November 2023   Les Studios du PAS  CLIENT PAS de la rue | ARCHITECT TEAM L. McComber—Laurent McComber, Olivier Lord, Jérôme Lemieux, Josianne Ouellet-Daudelin, Laurent McComber. Inform—David Grenier, Élisabeth Provost, Amélie Tremblay, David Grenier | PROJECT MANAGEMENT Groupe CDH | STRUCTURAL Douglas Consultants | MECHANICAL/ELECTRICAL Martin Roy & associés | CIVIL Gravitaire | CONTRACTOR Gestion Étoc | AREA 1,035 m2 | BUDGET $3.4 M | COMPLETION September 2022 As appeared in the June 2025 issue of Canadian Architect magazine The post A Place to Call Home: Le Christin and Les Studios du PAS, Montreal, Quebec appeared first on Canadian Architect.

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