The notion of well-being goes far beyond the absence of disease. It encompasses physical, emotional, mental, and social aspects, reflecting a state of harmony and balance in all these areas. Pursuing well-being is a continuous process that requires comprehensive attention and care for the body and mind, and contact with nature or self-care rituals can also contribute. Indeed, in today’s fast-paced world, dominated by digital devices and urban life, in which truly disconnecting is very difficult, finding moments of peace and connection with oneself and nature has become increasingly important. Integrating well-being practices into outdoor environments offers an attractive solution, combining the therapeutic benefits of natural settings with cutting-edge wellness technology, providing a holistic refuge that nurtures the body and soul, and inviting individuals to relax and reconnect with the world around them.
"In various regions of the planet, nature imposes adverse conditions on the human body. In these places, designing a building is almost like creating a garment: an artifact that protects and offers comfort. This challenge requires technological performance that must be combined with aesthetics. Making human beings feel good involves more than just meeting notions of comfort and safety; it's also a question of working with spaces in their symbolic and perceptual dimensions." This is the beginning of the description for the design of the Brazilian Antarctic Station in Antarctica, by Estúdio 41, located on the Keller Peninsula, where the surrounding sea freezes for around six to seven months of the year, where everything and everyone arrives by plane or ship and the nearest hardware store is days away. If designing a building in normal circumstances already presents numerous complexities, it's not hard to imagine the additional challenges when developing something in an extreme environment, such as locations with very high or low temperatures, or in places susceptible to corrosion, radiation, and more. In this article, we will explore the difficulties, the main solutions and the materials used in these contexts.
Squama Museum building from the Aura river. Image Courtesy of Sigge Architects
Finnish office Sigge Architects has been announced as the winner of the international competition for the design of the Museum of History and the Future in Finland's oldest city, Turku. The proposal, selected out of over 400 entries, creates a permeable structure along the waterfront, acting as a catalyst for the regeneration of the area. The museum aims to showcase the most innovative scientific research through a wide variety of exhibitions, audio-visual installations, and educational spaces. Construction is expected to start in 2027 and be completed by 2029, with a public opening scheduled for 2030.
The 7th Tallinn Architecture Biennale (TAB 2024) will commence on October 9th, 2024, at various venues around the city. Organized by the Estonian Centre for Architecture, this edition of the global architecture exhibition explores “Resources For a Future,” hoping to encourage dialogue, interdisciplinary work, and innovation within architecture. The event targets both architects and the general public and includes a comprehensive program featuring workshops, panels, seminars, and Open House Tallinn.
“Embodied carbon accounts for 75 to 95 percent of the greenhouse gas emissions from landscape architecture projects,” said Chris Hardy, ASLA, PLA, senior associate at Sasaki, during the third in a series of webinars organized by the ASLA Biodiversity and Climate Action Committee. But by selecting locally made low-carbon materials, landscape architects can significantly reduce the climate impacts of their work.
Embodied carbon emissions are generated from the extraction, manufacturing, transportation, and construction of landscape materials. The other share of project emissions come from operating and maintaining a landscape.
https://www.archdaily.com/1017789/climate-action-is-about-choosing-local-low-carbon-materialsJared Green
Flexibility is the buzzword of our time, confronting us in all aspects and challenging both us and our spaces on a daily basis. Today’s living and working environments are defined by fluid and adaptable layouts rather than rigid structures—from the urban multifunctional home to the variable open-plan office that operates as agilely as our work philosophy.
Cities in the US are embracing Accessory Dwelling Units (ADUs) to address the nationwide housing crisis. Often built on existing single-family home lots, ADUs offer an affordable option for increasing housing availability in established neighborhoods. However, like any new housing development, effective regulations are critical for widespread adoption. Los Angeles has emerged as a testing ground in using ADUs to address its housing shortage, providing valuable insights for other cities. The city's experience underlines the challenges of establishing regulations, while also promoting the benefits of ADUs as an affordable housing solution.
Waste is a key topic in the discussions regarding climate change, and the familiar call to reduce, reuse, and recycle continues to be a valid imperative that applies to everyone, and on whatever scale. Still, some industries need to pay special attention to the materials used, and construction is certainly one of them. With construction and demolition waste (CDW) accounting for approximately 25% - 30% of all waste generated in the EU, it is a challenging area that is in desperate need of reinvention, when it comes to materials. As one part of a holistic approach, EPDM (Ethylene-Propylene-Diene Terpolymer) membranes such as Elevate’s RubberGard EPDM can help significantly reduce the environmental impact of buildings. Here’s why.
Courtesy of SITELAB urban studio and Field Operations
SITELAB urban studio and Field Operations have revealed a design proposal to reimagine San Francisco’s iconic Powell Street. The street used to be one of the busiest pedestrian corridors in its district and a popular tourist attraction, with cable cars running up and down the street and connecting Union Square and Hallidie Plaza. Across the most popular three-block stretch, the storefronts have become mostly vacant. According to the San Francisco Chronicle, one of the reasons was the Covid pandemic, which led to a further decrease in tourism and in commercial activities. Now a new project led by designers SITELAB urban studio and Field Operations aims to revive the now underutilized transit corridor and to catalyze a renewed interest in the area.
Brutalist buildings are a significant component of Washington, D.C.’s architectural identity. In the National Building Museum’s new exhibition, Capital Brutalism, this identity is explored further. Co-organized with the Southern Utah Museum of Art (SUMA), Capital Brutalism is a comprehensive exhibition of Brutalist architecture in Washington, D.C., to date, running until February 17th, 2025.
The history of the use of lime in the construction industry dates back thousands of years, spanning cultures and communities worldwide. In fact, around 4000 B.C., the ancient Egyptians used quicklime mixed with water as a building material for their pyramids. Although lime has multiple applications in the food and agricultural industries, as well as in chemical, mining, and steel industries, in architecture it is one of the main construction materials due to its versatility, adhesion, waterproofing, workability, performance, setting, and durability, which allow for the creation of masonry mortars, interior or exterior plasters, among other functions.
The concept of low-tech architecture recognizes the impact of carbon-intensive technologies and building practices and proposes an alternative: a rediscovery of practical, rational, locally adapted solutions that count on smart design strategies instead of energy-intensive devices to ensure a safe, comfortable living environment. Far from being a regressive approach, the term remains open to innovations but seeks to rebalance the industry’s reliance on mechanization. It thus favors an architecture of fewer components, minimized dependence on high-tech solutions, and a preference for low-embodied carbon materials.
The Second Studio (formerly The Midnight Charette) is an explicit podcast about design, architecture, and the everyday. Hosted by Architects David Lee and Marina Bourderonnet, it features different creative professionals in unscripted conversations that allow for thoughtful takes and personal discussions.
A variety of subjects are covered with honesty and humor: some episodes are interviews, while others are tips for fellow designers, reviews of buildings and other projects, or casual explorations of everyday life and design. The Second Studio is also available on iTunes, Spotify, and YouTube.
This week David and Marina of FAME Architecture & Design are joined by Deborah Riley, Production Designer of Game of Thrones and Three Body Problem to discuss her background; why she studied architecture; career transition into set design; progressing from set designer to production designer; becoming a production designer on Game of Thrones; her responsibilities as a production designer; navigating physical sets versus digital or CGI sets; the challenge of working on different projects; and more.
https://www.archdaily.com/1017740/the-second-studio-podcast-deborah-riley-production-designer-of-game-of-thrones-and-3-body-problemThe Second Studio Podcast
Thermal mass is the ability of a material to absorb, store, and release heat. Used to moderate building temperatures by reducing fluctuations, the concept is crucial in improving energy efficiency. Materials with relatively high thermal mass, such as stone, concrete, rammed earth, and brick, can absorb significant heat during the day and release it slowly when temperatures drop at night, reducing the need for heating and cooling systems. Properties like heat capacity, thermal conductivity, and density are all considered when assessing the thermal mass property of a material.
A holistic approach to design and architecture becomes apparent when we delve into the work of NO ARCHITECTURE, an architectural practice based in New York, founded by Andrew Heid in 2014. The firm's portfolio and research showcase an integrative way of building, with projects demonstrating a close connection between the built environment and their immediate surroundings, whether in natural landscapes or urban contexts. Their programs emphasize flexibility, possibilities, and inclusion, prioritizing human well-being above all.
3XN GXN has revealed its design for Mahler 1, a 15-storey mixed-use office building. The structure, developed in collaboration with Victory Group, Icon Real Estate, and Erik Dhont Landscape Architects, features a hybrid-timber construction system that creates a stepped volume, breaking down the building’s mass. At the street level, the development offers a wide variety of public amenities, striving to become an active hub for both residents and office workers. The project is expected to begin construction in the first half of 2025 and conclude in late 2027.
Located in the heart of Beijing’s Central Business District, the Z6 tower, designed by Foster + Partners, has become China's first high-rise office building to achieve “Net Zero Carbon Outstanding” certification. The project received this recognition by passing the “Net Zero Carbon Building Evaluation System,” which was developed by the British Research Establishment (BRE) and TÜV Rheinland Greater China, based on BREEAM standards.
In London, where I live, there are 23 universities. Those universities make up an institutional population of nearly half a million people. In a city with almost 10 million residents, 5% may seem a small number, but it’s a significant one, roughly the population of Atlanta. Shrink the city, and the proportion can increase dramatically. In our neighbouring cities of Oxford (population 150,000), 40% of the population is institutional; in Cambridge (population 125,000), it’s 33%. Campus and city are so intertwined in those places that a plan for one is almost necessarily a plan for the other.
Although the sensory approach in the built environment is often based primarily on visual aspects, such as color and light, as we delve deeper into the relationship of architecture with the senses other essential elements emerge, such as aromas, textures, sounds, and even flavors. These components are fundamental to creating a profound experience between the user and the environment in which it takes place, demonstrating that design and sensory experience are intrinsically connected.
Thus, sensory design offers an immersive atmosphere for a full spectrum of senses where its perception extends beyond physical boundaries. An example of this is the Vertical Panorama Pavilion, located in a region of California (USA) with a strong identity linked to the wine tradition. This structure, with a glass canopy of Color PVB interlayers, serves as a shelter for hospitality. Inspired by nature, the pavilion’s canopy engages all the senses: from the texture of the gravel on the walking path to the wind currents in the area and the characteristic aromas of the region.
https://www.archdaily.com/1017382/a-multicolored-glass-canopy-for-senses-shelter-and-hospitality-the-vertical-panorama-pavilionEnrique Tovar
Although an architectural project comes to life with palpable materials, it is also defined by intangible qualities that give it richness, dynamism, and liveliness. Among them, the interplay of light and shadow can transform environments and affect their perception, determining the user's spatial experience. Besides providing natural ventilation, privacy, and thermal comfort, lattices allow this duality by filtering the entry of sunlight while projecting repetitive figures on the surface. In this way, perforated walls and ceilings can create multiple geometric patterns of light and shadow that become design elements capable of generating unique atmospheres.
Within this scope, much is said about the different vernacular techniques employed in architecture, whether it is the production of adobe bricks, thatched roofs, woven bamboo walls, among many others. However, while vernacular technique focuses on specific actions or skills, its meaning differs from vernacular technologies.
Heatherwick Studio has unveiled the design of a new large-scale glass canopy to become one of the main attractions of Olympia, an ambitious regeneration project aimed at transforming the 138-year-old exhibition halls in London into a global culture and entertainment destination. Originally designed by Sir Henry Edward Coe, Olympia is set to offer visitors a wide range of venues and activities, including two hotels, over 30 restaurants, bars and eateries, a 4,400-capacity live music hall, a theater, and spaces for the Wetherby Performing Arts School, in addition to over 2.5 acres of accessible public spaces. The revival project is co-designed by Heatherwick Studio and SPPARC.
via Flickr user jeanbaptisteparis licensed under CC BY-SA 2.0 | Fumihiko Maki at MIT Media Lab, 2010.
Esteemed Japanese architect and Pritzker Prize laureateFumihiko Maki passed away at his Tokyo home last Thursday at the age of 95. Celebrated for his modernist approach, Maki was responsible for significant works, including the 4 World Trade Center, a skyscraper at the site of the former World Trade Center in New York. Maki was recognized in the architecture industry various times, including receiving the Pritzker Prize and becoming the 67th AIA Gold Medalist. His influence in inventing a unique modernist style of Japanese origin cannot be underscored.
