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It is not your responsibility to finish the work [of perfecting the world], but you are not free to desist from it either.” —Rabbi Tarfon

On a recent flight, a gentleman sitting next to me noticed, aloud, that I was reading a book about architecture. Daring to engage in a conversation with more than two hours of flight time left, I confessed that I not only read about, but also practice architecture. His next question, with the earnest tone of a newly minted grandfather, was whether architects were “solving the housing crisis.”

The Midnight Charette is an explicit podcast about design, architecture, and the everyday. Hosted by architectural designers David Lee and Marina Bourderonnet, it features a variety of creative professionals in unscripted conversations that allow for thoughtful takes and personal discussions. A wide array of subjects are covered with honesty and humor: some episodes provide useful tips for designers, while others are project reviews, interviews, or explorations of everyday life and design. The Midnight Charette is also available on iTunes, Spotify, and YouTube.

This week David and Marina are joined by Dwayne Oyler, Architect, Professor at SCI-Arc, and Co-Founder of Oyler Wu Collaborative, to discuss the pros and cons of digital and physical making, building tricycles, the evolution of their office, translating conceptual work to buildings, welding, power tools, the importance of being selective in your work, and more!

IE School of Architecture and Design and ArchDaily would like to invite you to join this outstanding online masterclass by Shaun Brodie, currently Senior Director, head of occupier research, greater China, at Cushman & Wakefield.

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Through its urban planning and civic buildings, Chandigarh represents an iconic fragment of Modernist architecture. This economic and administrative centre was meant to showcase the progressiveness of the 1950s' newly independent India.

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Last week the Venice Architecture Biennale announced it would postpone its opening to August 29 of this year, while maintaining the original closure date of November 29. The duration of the Biennale will thus be reduced to three months. The reason for this intervention is clear to everyone: the Covid-19 epidemic, which has threatened the usual intense preparations for the Biennale, and which, since the decision was announced, has exacerbated to a national state of emergency. The announcement of the decision reads as a lesson in common sense.

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