The Aga Khan Award for Architecture has announced the Master Jury for the 16th award cycle. The independent panel includes Pritzker Prize laureate Yvonne Farrell, ArchDaily founder David Basulto, and Lucia Allais, director of the Buell Center. Established in 1977 by Aga Khan IV, this competition set out to highlight architectural projects that have a significant positive impact on Islamic communities worldwide. The Award is presented in three-year cycles and has a monetary prize totaling US$1 million.
MVRDV, in collaboration with JGE Architects, landscape architects Copley Wolff, and Langan Engineering, has developed a masterplan for the redevelopment of Faneuil Gardens, a public housing site in the Brighton neighborhood of Boston. This project, commissioned by The Community Builders in partnership with the BostonHousing Authority, aims to replace the outdated 1940s apartment complex with five contemporary buildings that incorporate mixed-income affordable housing, artist live-work spaces, and significant green spaces. At the center of the redevelopment is a new community center, located along a public boulevard that runs through the heart of the site.
Architecture has long been understood as a powerful tool for shaping the physical environment and social dynamics within it. However, its potential to foster social equity is often overlooked. Empathy-driven design invites architects to approach their work not only as creators of space but as facilitators of human connection and community well-being. This approach centers on understanding people's lived experiences, struggles, and aspirations — particularly marginalized communities — and responding to their needs through thoughtful, inclusive architecture. It goes beyond aesthetics and functionality, instead focusing on creating spaces fostering dignity, accessibility, and social equity. By prioritizing empathy, architects can design environments that uplift communities, address disparities, and create inclusive spaces that promote positive societal change in a tangible, human-centered way.
The almost cliché image of the white picket fence has become synonymous with the ideals of the American Dream. Behind the fence, there is invariably a perfectly manicured lawn, a green carpet upon which life can unfold. This image and its associations are not, however, accidental. In her book, "Domesticity at War", Beatriz Colomina notices that, since the Second World War, the lawn has taken a central space in the imagination of the country, becoming first a in order to make space for diversity, both social and ecological. symbol of the stability of the homes soldiers were hoping to return to, offering a space where those at home could still perform duties for the nation, and, after the war, propagating the image of an idealized lifestyle, one maintained with hard work and dedication. In recent years, the lawn has emerged once again as a site of conflict, this time between those hoping to preserve this idealized image, and those seeking to break the uniformity in order to make space for diversity, both social and ecological.
Architecture firm SO – IL has revealed plans for a new residential condominium project planned for Brooklyn's Fort Greene neighborhood. Named 144 Vanderbilt, the development offers 26 condominiums and amenities spanning almost 90,000 square feet. According to SO – IL, the architecture takes cues from Brooklyn's historical heritage, while incorporating a modern twist, as the staggered building prioritizes community interactions and comfortable urban living.
Foster + Partners have just unveiled designs for a new live-work building in Seoul, South Korea, which aims to redefine business hospitality with a personalized approach. This structure is set to accommodate professionals seeking a mixture of work and leisure in an urban environment. With an emphasis on comfort, functionality, and well-being, the building incorporates spaces designed for hosting and entertaining, along with dedicated meeting and negotiation rooms. It also features state-of-the-art wellness facilities, making it a unique setting for both work and relaxation. The project consists of twelve private units, each occupying an entire floor, providing a unique living experience tailored to individual needs.
When we think of spaces that foster meditation, our minds often travel either to Japan's Zen gardens, where clean lines and carefully arranged landscaping call for stillness, or to Scandinavia's designs with neutral tones and soft fabrics. These styles evoke a sense of calm through simplicity, often seen as a characteristic of Japanese and Northern European architectural styles. Yet, stillness and meditation are not restricted to these types of settings. Latin American architectural traditions also offer powerful, though often overlooked, approaches to meditative spaces. With earthy tones of terracotta, rough adobe textures, intimate courtyards, and a strong connection to nature, these environments call for reflection through warmth and material richness, creating spaces that are calming without being understated.
House to Watch the Sunset, concrete. Image Courtesy of Alma Zevi
Alma Zevi has developed a book offering an intimate and definitive account following the career of Swiss sculptor, painter, and architect Not Vital. This comprehensive book delves into Vital's pomading life, seeking and building homes in various cities, from Paris, New York, Beijing, and Rio de Janeiro. The book explores the artist's seminal sculpture practice and architectural projects, featuring a catalog of over 450 sculptures and related works. Drawing on archival material and personal interviews with the artist, Zevi seeks to provide a portrait of his career to date.
In his book "Curation: The Power of Selection in a World of Excess," Michael Bhaskar defines curation as "using acts of selection and arrangement (but also refining, reducing, displaying, simplifying, presenting, and explaining) to add value." Originating from the Latin word curare, meaning to take care of, the curator's role in dissecting our understanding of the world around us cannot be overlooked. Over time, as the definition morphs into different bodies, the practice of curation continues to evolve, filling the roles of caretakers of our built environment and thinkers of different forms for the overall bettering of society.
Sanderling Beach Club, Photograph by Francis Dzikowski, Archives of the Paul Rudolph Heritage Foundation.. Image via the Paul Rudolph Institute of Modern Architecture, under policy of fair use
Faced with the aging of the global population, one of the most significant social transformations of the 21st century is anticipated. The design of patios, gardens, terraces, and other green areas in facilities for the elderly presents an opportunity to foster interaction, participation in various collective activities, and the establishment of gathering spaces aimed at reducing loneliness among older adults while enhancing well-being and social interaction in connection with nature. How can built environments be created to adapt to the needs of older adults?
Imagine stepping into an environment that fully understands you, knows your habits, and actively works to support your wellbeing as an occupant. Air quality might be monitored and managed, and occupant circadian rhythms might be tracked to suggest ideal states of productivity. Workplace designers have been considering occupant wellbeing and health in their designs for offices of the future. Hypothesizing what time ahead may contain, there is a strong case to be made for sentient architecture and interior design being disruptive forces in how we interact with our work environments.
The Mies Crown Hall Americas Prize (MCHAP) has announced the winner of the fifth MCHAP.emerge award: the Community Production Center Las Tejedoras in Guayas, Ecuador, designed by Natura Futura architect José Fernando Gómez and architect Juan Carlos Bamba. The project offers a hub for local women artisans, providing them with spaces to learn, create, and showcase their textile creations. The winner announcement was made at the Conference on Critical Practice held at Mies van der Rohe's S. R. Crown Hall, an inaugural event that brought together the four MCHAP.emerge finalists to open up conversations about the future of the architecture profession across the Americas.
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 share their favorite aspects of being an architect. They discussed ongoing learning opportunities; building something from nothing; architecture comradery; construction; appreciation for man-made and natural objects; technical drawings; when architecture projects are finished; and more.
https://www.archdaily.com/1021748/the-second-studio-podcast-6-reasons-to-love-architectureThe Second Studio Podcast
In recent years, continuous material finishes enveloping interior spaces have become increasingly prominent, particularly in branding-focused retail environments. A continuous interior refers to using what are typically liquid-applied materials that are cured to create seamless, uninterrupted surfaces, eliminating the appearance of joints and seams—at least during the initial application. A growing range of products now offer various color options, textures, and practical properties, making these finishes more versatile. Interestingly, the aesthetic effect of such interiors is uncanny to the rise of 3D rendering software, where the seamless, fluid look mirrors the smooth, idealized spaces typical of digital renderings. This effect also contributes to a sense of scalelessness, as the absence of visible seams or joints makes it harder to discern the actual size of a space, often giving the illusion that the interior is larger than it is.
