Casa Morena | © Fernando Guerra / FG+SG In the coastal enclave of Lagos, Portugal, Mário Martins Atelier has crafted Casa Morena. This residence quietly asserts itself as an ode to the dialogue between architecture and its natural setting. Completed in 2024, this project demonstrates a considered response to its environment, where the interplay of light, material, and landscape defines a sense of place rather than architectural imposition. Casa Morena Technical Information Architects1-5: Mário Martins Atelier Location: Lagos, Portugal Project Years: 2024 Photographs: © Fernando Guerra / FG+SG A simple house, one that wishes to be discreet and to be influenced by its location, to become a house that is pleasant with thoughtful landscaping. – Mário Martins Atelier Casa Morena Photographs © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG A Contextual Response to Landscape and Light The design of Casa Morena finds its genesis in the site itself, a pine-scented plot overlooking the expanse of a bay. The pine trees, longstanding witnesses to the landscape’s evolution, provide the project’s visual anchor and spatial logic. In a move that both respects and celebrates these natural elements, Mário Martins Atelier structured the house’s reticulated plan to echo the presence of the trees, creating a composition that unfolds as a series of volumes harmonizing with the vertical rhythm of the trunks. The solid base of the house, built from locally sourced schist, emerges directly from the terrain. These robust walls establish a tactile continuity with the ground, their rough textures anchoring the architecture within the landscape. In contrast, the upper volumes of the house adopt a distinctly lighter expression: horizontal planes rendered in white plaster, their smooth surfaces catching and refracting the region’s luminous sun. This duality, earthbound solidity, and aerial lightness establish an architectural narrative rooted in the elemental. Casa Morena Experiential Flow Casa Morena’s spatial arrangement articulates a clear hierarchy of public and private domains. On the ground floor, the house embraces openness and transparency. An expansive entrance hall blurs the threshold inside and out, guiding inhabitants and visitors into a luminous social heart. The lounge, kitchen, and office flow seamlessly into the garden, unified by a continuous glazed façade that invites the outside in. This deliberate porosity extends to a covered terrace, an intermediary space that dissolves the boundary between shelter and exposure. The terrace, framed by the garden’s green canopy and the swimming pool’s long line, becomes a place of repose and contemplation. The pool itself demarcates the transition from a cultivated garden to the looser, more rugged landscape beyond, its linear form echoing the horizon’s expanse. Ascending to the upper floor, the architectural language shifts towards intimacy. The bedrooms, each with direct access to terraces and patios, create secluded zones that still maintain a fluid relationship with the outdoors. A discreet rooftop terrace, accessible from these private quarters, offers a hidden sanctuary where the interplay of views and light remains uninterrupted. Material Tectonics and Environmental Strategy Casa Morena’s material palette is rooted in regional specificity and tactile sensibility. Schist, extracted from the site, is not merely a structural element but a narrative thread linking the building to its geological past. Its earthy warmth and rugged surface provide a counterpoint to the luminous white of the upper volumes, an articulation of contrast that enlivens the building’s silhouette. White, the chromatic signature of the Algarve region, is employed with restraint and nuance. Its reflective qualities intensify the play of shadow and light, a dynamic that shifts with the passing of the day. In this interplay, architecture becomes an instrument for registering the ephemeral, and the environment itself becomes a participant in the spatial drama. Environmental stewardship is also woven into the project’s DNA. Discreetly integrated systems on the roof harness solar energy and manage water resources, extending the house’s commitment to a sustainable coexistence with its setting. Casa Morena Plans Basement | © Mario Martins Atelier Ground Level | © Mario Martins Atelier Upper Level | © Mario Martins Atelier Roof Plan | © Mario Martins Atelier Elevations | © Mario Martins Atelier Casa Morena Image Gallery About Mário Martins Atelier Mário Martins Atelier is an architectural studio based in Lagos and Lisbon, Portugal, led by Mário Martins. The practice is known for its context-sensitive approach, crafting contemporary projects seamlessly integrating with their surroundings while prioritizing regional materials and environmental considerations. Credits and Additional Notes Lead Architect: Mário Martins, arq. Project Team: Nuno Colaço, Sónia Fialho, Susana Jóia, Mariana Franco, Ana Graça Engineering: Nuno Grave Engenharia Landscape: HB-Hipolito Bettencourt – Arquitectura Paisagista, Lda. Building Contractor: Marques Antunes Engenharia Lda.

NASA's Mars Odyssey orbiter captured the first horizon view of Arsia Mons, an enormous volcano on the Red Planet. Credit: NASA / JPL-Caltech / ASU NASA’s longest-running Mars mission has sent back an unprecedented side view of a massive volcano rising above the Red Planet, just before dawn.On May 2, as sunlight crept over the Martian horizon, the Odyssey spacecraft captured Arsia Mons, a towering, long-extinct volcano, puncturing a glowing band of greenish haze in the planet’s upper atmosphere. The 12-mile-high volcano — nearly twice the height of Mauna Loa in Hawaii — punctures a veil of fog, emerging like a monument to the planet's ancient past. The space snapshot is both visually arresting and scientifically enlightening."We picked Arsia Mons hoping we would see the summit poke above the early morning clouds," said Jonathon Hill, who leads Odyssey's camera operations at Arizona State University, in a statement, "and it didn't disappoint."   Arsia Mons sits at the southern end of a towering trio of volcanoes called the Tharsis Montes. Credit: NASA / JPL-Caltech To get this view, Odyssey had to do something it wasn’t originally built for. The orbiter, which has been flying around Mars since 2001, usually points its camera straight down to map the planet’s surface. But over the past two years, scientists have begun rotating the spacecraft 90 degrees to look toward the horizon. That adjustment allows NASA to study how dust and ice clouds change over the seasons. Mashable Light Speed Want more out-of-this world tech, space and science stories? Sign up for Mashable's weekly Light Speed newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! Though the image is still an aerial view, the vantage point is of the horizon, similar to how astronauts can see Earth's horizon 250 miles above the planet on the International Space Station. From that altitude, Earth doesn’t fill their entire view — there’s enough distance and perspective for them to see the planet's curved edge meeting the blackness of space. Odyssey flies above Mars at about the same altitude. Arsia Mons sits at the southern end of a towering trio of volcanoes called the Tharsis Montes. The Tharsis region is home to the largest volcanoes in the solar system. The lack of plate tectonics on the Red Planet allowed them to grow many times larger than those anywhere on Earth.Together, they dominate the Martian landscape and are sometimes covered in clouds, especially in the early hours. But not just any clouds — these are made of water ice, a different breed than the planet’s more common carbon dioxide clouds. Arsia Mons is the cloudiest of the three.  Scientists have recently studied a particular, localized cloud formation that occurs over the mountain, dubbed the Arsia Mons Elongated Cloud. The transient feature, streaking 1,100 miles over southern Mars, lasts only about three hours in the morning during spring before vanishing in the warm sunlight. It's formed by strong winds being forced up the mountainside.   Related Stories The cloudy canopy on display in Odyssey's new image, according to NASA, is called the aphelion cloud belt. This widespread seasonal system drapes across the planet's equator when Mars is farthest from the sun. This is Odyssey's fourth side image since 2023, and it is the first to show a volcano breaking through the clouds."We're seeing some really significant seasonal differences in these horizon images," said Michael D. Smith, a NASA planetary scientist, in a statement. "It’s giving us new clues to how Mars' atmosphere evolves over time." Topics NASA Elisha Sauers Elisha Sauers writes about space for Mashable, taking deep dives into NASA's moon and Mars missions, chatting up astronauts and history-making discoverers, and jetting above the clouds. Through 17 years of reporting, she's covered a variety of topics, including health, business, and government, with a penchant for public records requests. She previously worked for The Virginian-Pilot in Norfolk, Virginia, and The Capital in Annapolis, Maryland. Her work has earned numerous state awards, including the Virginia Press Association's top honor, Best in Show, and national recognition for narrative storytelling. For each year she has covered space, Sauers has won National Headliner Awards, including first place for her Sex in Space series. Send space tips and story ideas to [email protected] or text 443-684-2489. Follow her on X at @elishasauers.

It’s time to share your vision with the world: Applications are now open to get your work featured in Architizer’s new print publication, How to Visualize Architecture! This stunning new book will highlight how architects, designers and creative thinkers shape culture, influence clients and envision what architecture can be through powerful concepts, ideas and imagery. The only way to apply for your work to be showcased in this landmark publication is to enter your work in the 2025 Vision Awards before the Main Entry Deadline on June 6th, 2025. Apply for Publication Every Vision Awards Winner will have their work published in this instructional guide, which will lift the curtain on creative processes in architecture, from early sketches and conceptual drawings, to renderings and physical models, to powerful photographs of finished projects. Don’t miss your chance to secure a spot in How to Visualize Architecture and a host of other prizes for your work! Let Your Work Lead the Conversation How to Visualize Architecture will serve as a global reference for clients, collaborators and the next generation of architects. Thematic chapters will explore key concepts that are critical to communication of architectural ideas, including: Narrative: How to craft compelling visual stories that communicate architectural vision, from concept to construction. Environment: How to root projects within their landscape, city or climate, building a powerful sense of place. Atmosphere: How to evoke emotion and spark intrigue in architecture through a variety of creative techniques. Identity: How to imbue architecture with the cultural and social meaning within a distinct, localized context. Tectonics: How to celebrate structure, materiality and craft, translating abstract ideas into physical manifestations. With so much design content living online, being published in a high-quality print anthology gives your work a lasting, tangible presence. This publication will be distributed to a global network of design professionals, making it a timeless showcase of the visionaries defining architecture today. Start My Entry Create a Lasting Legacy for Your Vision Your work is already inspiring. Winning a Vision Award and getting published in How to Visualize Architecture promises to transform it into an educational precedent for decades to come. For every emerging architect, client, student and creative professional that picks up a copy, your work will be presented as an exemplar for architectural ideation and representation — today and tomorrow. To get yourself in the running for inclusion, start your entry for this year’s Vision Awards today, and make 2025 the year your work is celebrated — both online and in print. Apply for Publication To find out more about the Vision Awards, check out our handy About pages, including FAQs, fees and deadlines, and eligibility and guidelines. If you have any questions about the program, please don’t hesitate to reach out to us at visionawards@architizer.com. The post Apply for Publication in Architizer’s New Book “How to Visualize Architecture”! appeared first on Journal.

News Planetary Science Venus’ tectonics may be actively reshaping its surface The planet’s surface may be tectonically active in ways that are similar to Earth’s The 1989 Magellan mission captured images of Venus’ rounded mountain belts called coronae (four shown), which may be evidence of tectonic activity. JPL-Caltech/NASA By Nikk Ogasa 17 seconds ago Things may be moving on Venus’ surface. In 1983, researchers discovered that the planet’s surface was speckled with strange, circular landforms. These rounded mountain belts, known as coronae, have no known Earthly counterparts, and they’ve remained enigmatic for decades. But hot plumes of rock upwelling from Venus’ mantle are shaping the mysterious landforms, a new analysis suggests. If true, that mean that Venus’ surface is tectonically active, and not merely a stagnant layer, researchers report May 14 in Science Advances. Sign up for our newsletter We summarize the week's scientific breakthroughs every Thursday.

It’s not only Instagram users and holiday makers snapping selfies — even robots are getting in on the action. This new image from the NASA Perseverance rover shows a selfie that’s out of this world, captured as the rover collected its latest sample of martian rock. Taken on May 10, the selfie was devised to celebrate the rover’s 1,500th day on Mars. As a day on Mars is just a little bit longer than an Earth day, at around 24 hours and 39 minutes, NASA measures its Mars missions in “sols” or martian days. As well as being a fun image for scientists and the public to enjoy, it gives the engineering team on the ground the chance to check the look and the status of the rover as it has been exploring since it landed in February 2021. Recommended Videos You can see plenty of red dust covering the rover, as the surface of Mars is covered in a dusty material called regolith which gives the planet its famous red color. Dust can be quite the challenge for Mars missions, as it gets everywhere when it is whipped up by huge dust storms and can cause problems by gumming up electronics and covering solar panels. But fortunately for Perseverance, the rover may look a little grubby on the outside but its essential functions are all still working well. “After 1,500 sols, we may be a bit dusty, but our beauty is more than skin deep,” said Art Thompson, Perseverance project manager at NASA’s Jet Propulsion Laboratory. “Our multi-mission radioisotope thermoelectric generator is giving us all the power we need. All our systems and subsystems are in the green and clicking along, and our amazing instruments continue to provide data that will feed scientific discoveries for years to come.” Even with all the instruments working correctly, though, getting the rover to take a selfie isn’t a quick job. The image was captured using Perseverance’s WATSON (Wide Angle Topographic Sensor for Operations and eNgineering) camera, which is located at the end of its robotic arm. As the rover was working on capturing the selfie, it also caught an unexpected photobomber: a wind feature called a dust devil which popped up in the background. “To get that selfie look, each WATSON image has to have its own unique field of view,” explained Megan Wu, a Perseverance imaging scientist from Malin Space Science Systems. “That means we had to make 62 precision movements of the robotic arm. The whole process takes about an hour, but it’s worth it. Having the dust devil in the background makes it a classic. This is a great shot.” With its celebrations well in hand, the rover is now moving on to investigate a new area of Mars: a region called “Krokodillen” after a Norwegian mountain ridge. This area is particularly exciting because it is thought to contain some of the oldest rocks on Mars, which could help to unlock the secrets of how the solar system formed. Here on Earth, our planet has a system of tectonics in which parts of the planet’s crust are gradually pulled down toward the mantle when they meet at a fault line. That means that the rocks on Earth are essentially recycled in an ongoing cycle of melting down toward the planet’s interior then rising up and cooling to become part of the surface. That’s why there are very few extremely old rocks on Earth. On Mars, however, it’s a different story. Mars doesn’t have plate tectonics, so very old rocks can stay on its surface for billions of years. Some of these are up to 4 billion years old, or even older, so studying them can help scientists learn about how the rocky planets formed in our solar system around 4.5 billion years ago. To study these very old rocks, though, Perseverance needs to find them first. There are thought to be extremely old rocks along the edge of the huge crater in which the rover landed, called Jezero. The Jezero Crater is almost 30 miles across, likely created by a huge meteorite impact billions of years ago. When this object slammed into the martian surface, it threw up large amounts of material like huge chunks of rock which landed nearby and are still there to this day. That means that by looking along the rim of the crater, Perseverance can search for these ancient chunks of rocks and use its instruments to study them. That can also help to answer one particularly important question that scientists want to understand, which is how long there was water on Mars. They know that, although Mars is dry and arid today, it once had plentiful liquid water on its surface. It may even have looked a lot like Earth at one point — and we know that water is essential for the formation of life. What scientists don’t agree on is exactly how long there was water on Mars, and whether it would have been around for long enough to give potential life the chance to develop there. So knowing exactly when Mars lost is water is a key part of understanding the planet and whether it could ever have supported life. To that end, Perseverance will be keeping a lookout for clay minerals which form in the presence of water, perhaps even formed before the impact which created the crater. These could contain potential indications of life, called biosignatures, such as organic compounds. “If we find a potential biosignature here, it would most likely be from an entirely different and much earlier epoch of Mars evolution than the one we found last year,” said NASA scientist Ken Farley. “The Krokodillen rocks formed before Jezero Crater was created, during Mars’ earliest geologic period, the Noachian, and are among the oldest rocks on Mars.”

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

Architizer is excited to announce that Daniel Libeskind, one of the most visionary figures in global architecture, has joined the jury for the 2025 Vision Awards. Known for his emotive, idea-driven architecture and deeply symbolic design language, Libeskind’s presence brings immense creative weight to a program that celebrates the most powerful architectural images and concepts shaping the future of the built environment. Libeskind will review entries submitted in an expanded Vision Awards program, which invites architects, designers, photographers, videographers, rendering artists, model makers and students to enter their work for global recognition and publication in print. The Main Entry Deadline is June 6th, 2025, so get started on your entry today: Enter the Vision Awards Over the course of his storied career, Libeskind has built a portfolio that transcends typology and geography. His seminal project, the Jewish Museum Berlin, redefined the relationship between architecture and memory, setting a new standard for how buildings can engage with history and human experience. Since then, he has completed groundbreaking cultural landmarks around the world — from the Imperial War Museum North in Manchester, to the Denver Art Museum, to the Military History Museum in Dresden — each one a testament to his ability to turn abstract concepts into built form. In 2003, Libeskind was selected to design the master plan for the rebuilding of the World Trade Center in Lower Manhattan, a project that required not only architectural vision, but deep emotional sensitivity. His design emphasized resilience, remembrance, and rebirth — values that continue to define his work today. Studio Libeskind also has notable conceptual or planned projects that form powerful cases studies in architectural ideation, including the Kurdistan Museum, designed as “the first major center in the Kurdistan Region for the history and culture of the Kurdish people.” Start My Entry Early sketches for the Kurdistan Museum by Studio Libeskind, Iraq This lifelong pursuit of the profound makes Libeskind is an ideal fit to judge the Vision Awards. A passionate advocate for architectural representation as a creative act, Libeskind’s design process is rooted in drawing, sketching, and conceptual storytelling. “My mother told me if I were an artist, I’d be so poor I wouldn’t even be able to afford a pencil,” said Libeskind in conversation with Architizer at his studio in Lower Manhattan. “‘You should become an architect,’ she said, ‘because you can always be an artist in architecture.’” As a juror for the 2025 Vision Awards, Libeskind will bring a critical eye to 50+ award categories that explore visual storytelling, conceptual clarity, and emotional impact — from architectural drawings and models to unbuilt projects that speculate on the future of cities, culture, and the human condition. Enter the Vision Awards National Dutch Holocaust Memorial of Names by Studio Libeskind, Amsterdam, Netherlands | Popular Choice Winner, Religious Buildings and Memorials, 10th Annual  A+Awards Joining Libeskind on the 2025 Vision Awards jury is a distinguished panel of professionals from various disciplines, including: Steven Holl, Founding Principal, Steven Holl Architects. Winka Dubbeldam, Founding Principal, Archi-Tectonics and Director & CEO, SCI-Arc. Sanjay Puri, Founding Principal, Sanjay Puri Architects. Suchi Reddy, Founding Principal, ReddyMade. Arjun Desai and Katherine Chia, Founding Principals, Desai Chia Architecture. This multidisciplinary jury reflects the Vision Awards’ commitment to honoring a broad spectrum of architectural creativity and innovation. View the complete Vision Awards jury here. Start My Entry Early sketch and photograph of the Imperial War Museum North by Studio Libeskind, Manchester, United Kingdom “I remember when there were all these people in the studio, like draftsmen, doing chores,” Libeskind recalled in his interview with Architizer. “Now, creating architecture is like a performance. It’s beautiful at every stage.” It is these ‘stages’ that will be given the spotlight in the Vision Awards, as the art of creative iteration — whether through drawing, rendering, model making, video or photography — is celebrated on a global stage. Libeskind’s presence underscores the Vision Awards’ mission to elevate not only how architecture is built, but how it is imagined, represented, and shared. With his guidance, this year’s jury will recognize submissions that embody bold thinking, narrative depth, and artistic rigor. Enter the 2025 Vision Awards today for the opportunity to have your work seen by Daniel Libeskind and other global design leaders. The Main Entry Deadline is June 6th, 2025. Start Submission The post Daniel Libeskind Joins the Vision Awards Jury, Bringing Emotive Design to the Fore appeared first on Journal.

F-WHITE Aerial View | © Kindaikouku In a quiet residential area of Kashiwa City, Chiba Prefecture, F-WHITE emerges as a spatial response to three simultaneous conditions: a client’s desire for unity, the awkward geometry of a leftover suburban lot, and the architectural lineage of the Japanese courtyard house. Designed by Takuro Yamamoto Architects, this one-story residence challenges normative interpretations of courtyard living through a deceptively simple yet highly deliberate plan. F-WHITE Technical Information Architects1-11: Takuro Yamamoto Architects Location: Kashiwa City, Chiba Prefecture, Japan Area: 122.03 m2 | 1,313.86 Sq. Ft. Project Year: 2007 – 2009 Photographs: © Kindaikouku, © Ken’ichi Suzuki Photo Studio This oblique angle makes the courtyard look like a box which happened to be thrown out on one very large internal space. – Takuro Yamamoto Architects F-WHITE Photographs Aerial View | © Kindaikouku Aerial View | © Ken’ichi Suzuki Photo Studio Facade | © Ken’ichi Suzuki Photo Studio Facade | © Ken’ichi Suzuki Photo Studio Courtyard | © Ken’ichi Suzuki Photo Studio Courtyard | © Ken’ichi Suzuki Photo Studio Living Room | © Ken’ichi Suzuki Photo Studio Living Room | © Ken’ichi Suzuki Photo Studio Kitchen | © Ken’ichi Suzuki Photo Studio Interior | © Ken’ichi Suzuki Photo Studio Bedroom | © Ken’ichi Suzuki Photo Studio Corner | © Ken’ichi Suzuki Photo Studio Office | © Ken’ichi Suzuki Photo Studio F-WHITE Context and Design Intent The conceptual genesis of F-WHITE was shaped by the client’s request for a spatially unified home that would not fragment the daily rhythms of a three-member family into disconnected rooms or vertical divisions. The insistence on a single-story scheme was not a stylistic preference but a spatial demand: the desire to maintain a continuous, communal living environment, resisting the compartmentalization typical of multi-story dwellings. The site itself offered both a provocation and an opportunity. At 259.31 m², it is larger than the standard suburban plot yet unusually narrow, an irregularity that had consigned it to use as a parking lot for decades. This inherent contradiction, generous area paired with constrained proportion, led the architects to reconsider the role of central outdoor space. Rather than impose a traditional orthogonal courtyard at the heart of the dwelling, the team sought an alternate geometry to reconcile continuity with division. Spatial Strategy and Courtyard Geometry F-WHITE’s defining gesture lies in the courtyard’s rotation. Placed at an oblique angle within the house’s orthogonal boundary, the courtyard interrupts the expected spatial reading. This tilt is more than a formal device; it allows the surrounding interior spaces to link fluidly at their corners, bypassing the need for corridors and reinforcing a sense of spatial cohesion. This move mitigates the typical courtyard issue in narrow lots, where the outdoor void threatens to divide rather than unify. In F-WHITE, the courtyard is perceived not as a central void to be circumnavigated but as a geometric insert, a spatial wedge around which the house unfurls. It appears almost incidental, like a box that has landed within a continuous interior shell, carving subtle niches and allowing glimpses of the sky without fracturing the whole. Notably, the plan avoids over-articulation. Functions are assigned with clarity, yet the transitions between public and private realms are not demarcated by walls but by proximity, orientation, and visibility changes. The residence achieves a spatial sequence of unfolding rather than zoning, and each corner turned offers a fresh yet familiar perspective on the courtyard’s presence. Material Palette and Tectonic Expression Materially, F-WHITE adheres to a restrained palette that reinforces its conceptual clarity. The interior is defined by birch flooring, lauan plywood ceilings, and plasterboard walls finished with AEP, creating an atmosphere of calm continuity. These surfaces absorb and reflect light with subtle variation, amplifying the temporal and climatic shifts orchestrated by the central courtyard. The mortar lysin exterior gives the house a muted, almost anonymous presence from the outside. This subdued finish resists spectacle and reinforces the introverted nature of the design; its architectural intensity is reserved for those who inhabit the space rather than those who pass by. The project is rooted in wood-frame construction, a pragmatic and contextually appropriate choice structurally. Built by Nagano-Koumuten and furnished by Tallman STUDIO, the residence balances craft with efficiency, eschewing expressive tectonics in favor of modest precision. The architecture does not draw attention to its construction; instead, it invites attention to the voids, transitions, and relationships it enables. F-WHITE Plans Site Plan | © Takuro Yamamoto Architects Section | © Takuro Yamamoto Architects Perspective | © Takuro Yamamoto Architects F-WHITE Image Gallery About Takuro Yamamoto Architects Takuro Yamamoto Architects is a Tokyo-based architectural practice founded in 2005 by Takuro Yamamoto. It is known for its minimalist residential designs that emphasize spatial continuity, natural light, and the integration of voids to enhance privacy and openness. The firm’s work often explores the interplay between solid and void, crafting serene environments that respond thoughtfully to site constraints and client needs. Notable projects include the White Cave House and F-WHITE, which exemplify their commitment to creating timeless, context-sensitive architecture. Credits and Additional Notes Project Architect: Eiji Iwase Structural Engineer: Masuda Structural Engineering Office Construction: Nagano-Koumuten Furniture Design: tallman STUDIO Structure: Wood Frame Construction Client: Married couple with one child Site Area: 259.31 m² Building Area: 122.03 m² Total Floor Area: 118.99 m² (in accordance with Japanese regulations) Design Period: August 2007 – October 2008 Construction Period: November 2008 – April 2009

May 13, 20255 min readVenus Isn’t (Geologically) DeadA reappraisal of decades-old data suggests that strange circular formations on Venus could be volcanic “rings of fire” created by ongoing geological activityBy Elise Cutts edited by Lee BillingsThe northern hemisphere of Venus, as captured in radar data from NASA’s Magellan spacecraft. Some of the circular features seen in this image are coronae, mysterious formations that recent studies suggest could be sites of ongoing geological activity. NASA/JPL-CaltechEarth’s geology is downright vital. Here, giant “plates” of the crust rift apart and smash together like pieces of an ever changing planetary jigsaw puzzle. Mountains rise, volcanoes spew, and Earth itself quakes as the crust constantly remakes itself in the ceaseless cycle of plate tectonics. This is a process that controls the flow of carbon through our planet and stabilizes its climate; were it not for plate tectonics, Earth might not be habitable at all.No other rocky world in our solar system has anything approaching Earth’s degree of geological activity. At least, that’s what scientists used to think. Mercury, Mars and the moon appear essentially inert. But Venus, our closest neighbor and the only other large rocky world around the sun, is now starting to look far livelier than once thought. A fresh look at decades-old data from NASA’s Magellan probe has found evidence of active tectonics—around dozens of circular volcanic features called coronae—on Venus today. The finding, published on Wednesday in Science Advances, provides some of the best evidence to date that Venus isn’t dead—at least, not when it comes to tectonics.“Venus works differently than the Earth but not as different as what was originally assumed,” says the study’s co-lead author Anna Gülcher of the University of Bern in Switzerland. “We should think of tectonics as not just a black-and-white picture.”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.“Questions as fundamental as ‘Is Venus alive today?’ are extremely hard to answer,” says planetary scientist Paul Byrne of the University of Washington in St. Louis, who wasn’t involved in the study. This new evidence of geological activity around the coronae suggests “the heart of Venus still beats today. I think that’s extremely invaluable for us to understand the big, rocky world next door.”Venus is called “Earth’s evil twin” for good reason: the planet is almost exactly as large as the Earth and is made of roughly the same stuff. But while Earth is a verdant water world, Venus is a scorched hellscape with temperatures hot enough to melt lead, a dreary, permanently overcast sky and air so thick that it crushes spacecraft as if they were tin cans.For a while, Venus was widely assumed to be just as dead on the inside as it is on the outside. Lacking any obvious plate tectonics—which can help release a world’s internal heat—Venus’s interior was thought to instead just simmer like the contents of a tight-lidded pot on a stove. According to one popular hypothesis, the pot had eventually boiled over: after eons of frustrated heating, some 800 million years ago, the planet’s outer shell buckled, and Venus’s entire surface was paved over with immense outpourings of fresh lava. And, the thinking went, with all that heat dissipated, the planet’s geology basically shut down.But evidence is mounting that Venus is, geologically at least, still kicking. Most notably, in 2023 two researchers scrutinizing 30-year-old Magellan data realized that the probe had caught a volcanic eruption in the act: radar images of the volcano Maat Mons that were taken months apart showed what looked like a caldera collapse and subsequent lava flow. Venus, it seems, still has active volcanoes. Some researchers now think it could have active tectonics, too. And in 2020 Gülcher and her colleagues showed via simulations of Venusian tectonics that the planet’s mysterious, ring-shaped coronae could be a good place to look for such activity.Tectonics refers to the processes that deform a rocky planet’s brittle outer shell. On Earth, this outer shell—the lithosphere, which includes the crust and part of the upper mantle—is broken into tectonic plates that drift over the hot, plastic mantle. When two plates collide, one of them can slide below the other and dive down into the mantle in a process called subduction. On Earth, subducting plates start melting as they sink, feeding volcanoes along plate boundaries. Such volcanoes include Japan’s Mount Fuji and western North America’s Cascade Range.Unlike Earth, Venus doesn’t have global plate tectonics. The new study suggests, however, that around coronae, something quite similar to subduction could be happening.Gülcher and her colleagues simulated several tectonic processes that might be occurring around coronae and compared their predictions to real observations collected by the Magellan probe 30 years ago. The comparisons were more than skin-deep: the researchers used gravity data to take a peek underground. Hot rock is generally less dense than cold rock, and these density variations from place to place can correspondingly alter the strength of a planet’s gravitational field. So Magellan’s spatial mapping of Venus’s gravity can “see” if there’s hot, light material under a corona—a sign that rock is actively rising up from the mantle below.Of the 75 coronae that the team could resolve in Magellan’s gravitational maps, 52 seem to be geologically active. The predicted and real data lined up so well for some coronae that “we could hardly believe our eyes,” says the study’s other co-lead author Gael Cascioli of NASA’s Goddard Space Flight Center and the University of Maryland, Baltimore County. Most of the active coronae were encircled by trenches, a hint that old crust dives into Venus’s mantle around these rocky rings, where it is driven downward as buoyant rock rises from below in the middle of each corona’s ring structure. “Basically, if something goes down, something goes up,” Gülcher says. Where the lithosphere is softer and more pliable, bits of it could break off and “drip” down into the mantle in globs. In places where the lithosphere is stiffer, entire slabs of crust could subduct in a small-scale, circular mirror of Earth’s subduction zones, like those that form the Pacific Ocean’s famed volcanic Ring of Fire.Working with 30-year-old data comes with an obvious limitation: the data quality often isn’t very good compared with newer observations. The new study’s researchers did well with what they had, Byrne says. But NASA’s upcoming VERITAS (Venus Emissivity, Radio Science, InSAR, Topography, and Spectroscopy) mission could do much better—and the team predicted exactly how much better in the paper. “The improvement would be extraordinary,” Cascioli says. Instead of being limited to analyzing 75 coronae, VERITAS’s gravity dataset should allow scientists to examine hundreds of the strange ring-shaped features.For the foreseeable future, Venus is the only other large, rocky world that we or our robotic emissaries will ever reach. Understanding why Earth and Venus ended up so different despite having so much in common helps us understand our own planet—and whether the rocky worlds we’re beginning to glimpse around other stars are more like Earth or instead resemble its evil twin.“Venus is the world that we probably understand least,” Byrne says. “Yet it’s the one, arguably, I think, that’s the most important.”

Casa De Blas | © Hisao Suzuki Set on a hillside in Sevilla la Nueva, a town southwest of Madrid, Casa De Blas is a distilled expression of the architectural dialectic between weight and lightness, earth and sky. Designed in 2000 by Spanish architect Alberto Campo Baeza, the house is both an act of landscape intervention and a metaphysical construct, a spatial meditation on essential form and material logic. Casa De Blas Technical Information Architects1-3: Alberto Campo Baeza Location: Sevilla la Nueva, Madrid, Spain Area: 250 m2 | 2,690 Sq. Ft. Project Year: 2000 Photographs: © Hisao Suzuki This house aims to be a literal translation of the idea of the tectonic box upon the stereotomic box. Like a distillation of the most essential in architecture. Once again, more with less. – Alberto Campo Baeza Casa De Blas Photographs © Hisao Suzuki © Hisao Suzuki © Hisao Suzuki © Hisao Suzuki © Hisao Suzuki © Hisao Suzuki The Architecture of Duality: Ground and Sky Campo Baeza’s work consistently revolves around a search for architectural clarity. In Casa De Blas, this clarity manifests as two boxes: a grounded concrete volume that holds the domestic program and a glass pavilion above that elevates the act of looking. The house is not merely built on the landscape; it is in dialogue with it. The conceptual strategy of Casa De Blas is rooted in a tectonic-syntactic opposition between the stereotomic base and the tectonic roof. The lower portion consists of a robust concrete platform embedded in the earth like a carved podium. This base supports a lighter glass structure above, where steel elements define the enclosure with minimal mass. The house engages the site with careful restraint. Rather than dominate the hilltop, it accepts the slope and turns its attention to the northern view of the Sierra de Guadarrama. This orientation informs light and shadow’s spatial organization and phenomenological qualities. Inside the concrete base, the architecture follows a precise logic. A service band is located toward the rear, while primary living spaces occupy the front, facing the landscape. Square window openings, deeply set into the thick walls, frame views with the intentionality of a camera obscura. These apertures do not merely let in light; they shape perception, creating a sense of distance and inwardness. The Pavilion as Apparatus for Contemplation Above this grounded core, the transparent upper volume serves as a lookout. Reached from the interior by ascending stairs, the glass box sits lightly on the podium, offering a counterpoint to the cave-like enclosure below. There is no visible carpentry, just frameless glazing and a white steel canopy, which shades the upper level while preserving its airy, open quality. The north-facing glass stretches toward the edge, embracing the panoramic view. On the southern side, the volume recedes to create a shaded void, regulating solar gain. This sectional asymmetry allows the architecture to perform environmentally without compromising its compositional purity. Campo Baeza describes the house as a literal translation of the idea of a tectonic box upon a stereotomic box. The reference is not metaphorical but structural and spatial. The upper pavilion is not a symbol of transparency but a mechanism for perception. In this way, the house operates as a philosophical instrument as much as a dwelling. Casa De Blas Proportion and Compositional Rigour The power of the project lies in the spatial sequence from the heavy to the light, from the shaded to the luminous. The contrast between these two atmospheres creates a duality of experience: shelter and openness, introspection and projection. The structural order contributes to this sense of serenity. Steel supports are arranged in double symmetry, reinforcing the composition’s static quality. Nothing feels arbitrary. Every gesture is reduced to its essential nature. The palette is limited to concrete, glass, and steel, yet the result is rich in meaning. The interior is equally restrained, avoiding superfluous detailing. It is architecture as a frame, a backdrop for landscape and thought. Campo Baeza’s work here touches the territory of the poetic, not through expressionism but through control and abstraction. Casa De Blas Plans Concept | © Alberto Campo Baeza North Elevation | © Alberto Campo Baeza East Elevation | © Alberto Campo Baeza Upper Level | © Alberto Campo Baeza Floor Plan | © Alberto Campo Baeza Section | © Alberto Campo Baeza Casa De Blas Image Gallery About Alberto Campo Baeza Alberto Campo Baeza is a Spanish architect born in 1946 in Valladolid. Renowned for his minimalist and essentialist approach, he emphasizes the interplay of light, gravity, and proportion in his designs. His notable works include the Casa Turégano, Casa de Blas, and the Caja de Granada headquarters. Campo Baeza was a full-time design professor at the Escuela Técnica Superior de Arquitectura de Madrid (ETSAM) from 1986 until his retirement in 2017. He has received numerous accolades throughout his career, such as the RIBA International Fellowship and the Heinrich Tessenow Gold Medal, recognizing his contributions to contemporary architecture. Credits and Additional Notes Design Team: Alberto Campo Baeza, Alfonso González Gamo Structural Engineer: Julio Martínez Calzón, MC-2 Collaborators: Teresa Campos