This article was originally published on Common Edge.

In 1956, when car ownership and the suburban development that this enabled were just being embraced as American cultural ideals, pioneering urbanist Jane Jacobs wrote that the U.S. was becoming “an unprecedented nation of centaurs. … Our automobile population is rising about as fast as our human population and promises to continue for another generation.” She continued, “the car is not only a monstrous land-eater itself: it abets that other insatiable land-eater—endless, strung-out suburbanization.”

The A' Design Award and Competition was established to promote and recognize the best in design worldwide, in all creative disciplines. The award is aimed at designers, innovators and companies that wish to stand out and attract the attention of the media, editors and buyers. These aspects are especially important in the world of design, where millions of products and projects are launched, and often end up being swallowed up and not receiving due recognition. To address this, hundreds of projects are submitted every year with a focus on innovation, technology, design and creativity. It offers a chance for recognition, with the valuable curatorship of a renowned jury and the possibility of a successful international launch. The A' Design Award contains a series of public relations, advertising and marketing services to celebrate the success of its winners. In addition, and unlike other design awards, it is completely free of charge.

Step into the realm where the minimalism of the 1960s Light and Space movement intertwines with contemporary high-tech algorithms and sensors. Back then, light artists like James Turrell, Dan Flavin, and Robert Irwin captivated audiences with the bare essentials, using precisely daylight or lamps to heighten visual perception. Fast forward to today, Chromasonic takes this synergy of light and color but augments it with sound and algorithms. Envisioned as a global network to experience the harmony of body and mind, Johannes Girardoni's team unveiled the first satellite of perception in the heart of Venice Beach, California. Through a collaboration with Google, Milan Design Week showcased how the interplay of light and color can go on tour as a walk-in installation on a larger scale.

+ 1

Throughout history, the undeniable interrelationship between sound and architecture has shaped users' experiences. From auditoriums to offices, cultural centers, and schools, acoustics in architecture can manifest itself in two ways: as a determining element of a structure's shape and as a material. When discussing aesthetics, the latter aspect is particularly relevant, as any material that forms part of a composition aims to have a cohesive design with the rest.

Integrating acoustics through materials presents a significant challenge, as certain attributes such as color, texture, or dimensions may hinder harmonization with the overall design of the space. This can unbalance the experience of the environment, since, although the acoustics are improved, the interior atmosphere is negatively affected. This situation highlights the importance of selecting the right material that can enhance acoustics while maintaining the coherence of the design.

As the anticipation builds for the XXXIII Olympic Games in Paris, the city is preparing to host a global sporting event and embark on a journey of urban renewal. In a departure from traditional stadium-centric hosting, Paris 2024 embraces a new approach to the Olympic experience. Sports architecture has the ability to transcend functionality and become a space of collective experience and shared joy. In that sense, it invites individuals from diverse backgrounds to forge connections while celebrating athleticism. This month’s curated collection focuses on diverse forms of sports architecture, stadiums, venues, and landscaping projects, dissecting what components come together to form different sports architecture experiences.

For the Qatar World Cup in 2022, Foster + Partners designed the iconic and more traditional Lusail FIFA stadium. In India, M:OFA Studios designed the National Institute of Water Sports, breaking away from the pragmatic norms of government institutions. In Hangzhou, China, the 2022 Asian Games featured a new Cricket Field by AZUT, emerging as an integration of sports infrastructure with the natural landscape. Meanwhile, in Order City, China, PLAT ASIA transformed an existing urban square into a Smart Sports Park, promoting community wellness and interaction. Finally, Opsis Architecture’s University of Idaho Arena serves as a main gateway to the University campus, celebrating the spirit of athleticism and community.

+ 6

During Milan Design Week 2024, Lasvit presented its mastery in glassmaking and creative approach to design and architecture, with their latest installation "Re/Creation." Held at the Palazzo Isimbardi, the expert in hand-made glassmaking had various unique creations on display, leading with "Porta" as the centerpiece, conceived by Lasvit’s Art Director Maxim Velcovsky. The monumental piece highlighted the company’s expertise in using the fused glass furnace and its journey in redefining the relationship between glass and architecture.

"Re/Creation" emerged as a central attraction for visitors, offering a space for relaxation. Drawing inspiration from the fluidity of molten glass, the very title signifies a technique inherent in fused glass craftsmanship, where the material is allowed to organically flow into a predetermined shape guided by gravity. Within this tranquil setting, creatives were encouraged to unwind, fostering an environment conducive to rejuvenation and creative exploration.

Videos

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 Architect and Scholar Alejandro Zaera-Polo, Founder of Alejandro Zaera-Polo & Maider Llaguno Architecture to discuss his background; studying architecture; working at OMA; starting his own practice; winning the Yokohama Terminal Project; teaching; his time at Princeton University; contemporary academia; and more. Enjoy!

Powerhouse, Australia’s largest museum institution dedicated to applied arts design, and technology, has revealed the plans for a comprehensive restoration of its three sites located in Sydney, Australia, in addition to the opening of a new site in Parramatta in Western Sydney in 2025. The Powerhouse Ultimo site contains two heritage-listed buildings: the Ultimo Powerhouse and the Ultimo Post Office. The project for the renovation of this heritage location is led by a team of architects, Durbach Block Jaggers working in partnership with Architectus, Youssofzay + Hart, and landscape architects, Tyrell Studio.

On the banks of the Amazonian river Piraí, the rings and canals of Santa Cruz de la Sierra not only enclose buildings of Bolivia's contemporary and modern architecture (curious examples of formalist rationalism, brutalism, and postmodernism are evident here) but also include a part of its diverse ancient and everyday architecture: from a historic center with endless arcades and colonial mansions to local markets and sheds such as the pahuichi cruceño.

On the occasion of the Latin American Architecture Students Meeting (ELEA) where we were invited to provide on-site coverage, we encountered ten of these places that can help you get a general overview of the city and its heterogeneous architecture.

This article was originally published on Common Edge.

The U.S. has a long tradition of republicanism and laissez-faire capitalism that has not favored strong federal housing policy or intervention in the housing market. Policymakers have believed that private enterprise could best provide sufficient housing and that, as with healthcare and education,[1] government involvement would bring in “socialism” and undesirable control of the free market. There are two major exceptions to this tradition: the 1937 National Housing Act, a result of the devastation of the Great Depression, and the “war on poverty,” initiated by the Johnson administration in the mid-1960s.[2] Successful as these programs were, subsequent federal housing policy has mostly been aimed at undermining them, through either malice or neglect. Instead, federal policy has mainly sought to promote home ownership, the American dream, but that approach was eviscerated by the collapse of financing due to the subprime loan crisis and its aftermath. The result is that there is currently virtually no cogent federal housing policy. Thirty-five million Americans live in substandard housing; a much larger number devote 50% of their income to a roof over their heads. Housing construction is at a historic low, and construction costs have risen so high that they are well beyond the means of the average citizen.

Producing sustainable materials and products demands constant analysis of how we conserve resources and manage waste effectively. This unfolds within a scenario where the environmental impacts of global warming and the climate crisis are becoming increasingly evident. In that context, sustaining the dialogue on waste disposal is fundamental to positively impacting our environment and maximizing circular economy opportunities.

Embracing this perspective and demonstrating a commitment to sustainability through waste reduction and resource conservation, VitrA has created an entire washbasin with 100%* recycled waste materials, including discarded ceramics from its production process. This innovative product has been designed to have a minimal environmental impact and reduce the global warming potential of its production by 30% per product, transforming materials once considered waste into valuable resources.

As you read this, you may notice that you are surrounded by several items made of plastic. This omnipresence is no coincidence; the versatility of plastic has made it suitable for a variety of applications, and was described by its inventor—Leo Baekeland— as “the material of a thousand uses.” However, when it comes to environmental impact, the problem lies in its very qualities: it is so durable, adaptable, and easy to produce (430 million tons per year) that, according to UN data, the equivalent of 2,000 garbage trucks full of plastic are dumped into the oceans, rivers, and lakes every day.

In the built environment, plastic has been incorporated into various materials, products, and construction systems, contributing to an environmental crisis that seriously affects the well-being of millions of living beings. Faced with this problem, one possible direction is to shift away from utilizing it. The search for plastic-free alternatives is marking a path toward a future where architecture is progressively disassociating itself from these polluting materials, promoting sustainable solutions that reduce our dependence on it and contribute to preserving the environment.

The use of contrast is an essential practice in both cuisine and architecture, whether it's harmonizing different aromas and flavors or integrating buildings from different eras. This principle comes to life in a striking way at the top of the imposing Austrian Alps, where the Steirereck am Pogusch restaurant strives for culinary excellence, architectural mastery and the fusion of tradition and innovation. Under the guidance of PPAG architects, the establishment has undergone a revitalization and expansion marked by a deep respect for nature, while making a bold statement of contemporary design.