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Bathroom accessories serve various functions, especially when it comes to hygiene, organization and practicality. Previously thought of as purely functional components, designed only to perform their intended use, today they are seen as compositional tools that contribute to the overall aesthetics of a bathroom. Careful consideration in the choice of pieces makes it possible to create a functional and pleasant space. As bathroom accessories have become more advanced and complex, designers have begun to explore the potential of incorporating aesthetic elements into their design, resulting in creating smarter, safer, and more beautiful accessories.

Moving away from the decorative and ornate approaches of the past, contemporary designs now seek minimalism and more simplified aesthetics –clean lines, essential elements, with a focus on geometric shapes and a well thought out color palette. This approach has been particularly successful in creating sophisticated spaces, but also in providing a sense of space and openness in smaller bathrooms, where the absence of clutter and unnecessary decoration can make the room seem more spacious.

Nigerian-born artist, designer, and architect Demas Nwoko is the recipient of the Golden Lion for Lifetime Achievement of the 18^th International Architecture Exhibition of La Biennale di Venezia entitled The Laboratory of the Future. The decision was taken at the recommendation of the exhibition curator, Lesley Lokko, and was approved by La Biennale’s Board of Directors chaired by Roberto Cicutto. The awards ceremony will be part of the inauguration of the 18^th Exhibition and will be held on May 20^th, 2023, at Ca’Giustinian, the headquarters of La Biennale di Venezia.

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The Republic of Kosovo will present Transcendent Locality at the 2023 Venice Architecture Biennale, exploring the significant role migration plays in the social development of Kosovo. The pavilion also dives into the migratory process and its different phases, including returning home after migration: temporary, seasonal, or permanent. However, at its core, it celebrates the connections to the Homeland and its relationship to the Host Land. The Pavilion poses that trans locality, connected to more than one place simultaneously, has become a prevalent model of life. In fact, maintaining the connections between the Host land and Homeland should become a form of communication, transfer of knowledge, information, and material and immaterial goods.

Although the circular economy involves other principles such as the regeneration of natural systems, the reuse or recycling of materials plays an important role in contributing to the reduction of waste generation by giving a second useful life to elements that could be considered waste. Wood, metal sheets, bricks, and stones, among others, can be reused, bringing sustainability and efficiency criteria to the projects, helping to consolidate this concept that still has a long way to go.

Within the Latin American territory, many architecture professionals have proposed to apply in their design and construction processes the implementation of strategies that collaborate with the use of resources, either by reusing, recycling, or restoring different materials and elements in search of satisfying the needs and concerns of those who inhabit the spaces.

A rising number of studies suggest that well-considered lighting affects and boosts consumer behavior. Add to that the new Instagramability and promotional requirements, and the role of lighting becomes pivotal to achieving a filtered and commercially appealing visual. The latter has encouraged the implementation of new technology lighting panels and fixtures that offer a range of colors and dimmability, modifying the mood and even the overall color palette of a space. The results are some fun, sometimes almost cartoonish, settings that suggest the best backdrops and inviting venues.

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This article was originally published on Common Edge.

Arquitectonica has refuted Koolhaas’ accusation that “Modern architecture had never achieved the promised alchemy of quantity and quality,” and Alistair Gordon’s enormous compendium of the firm’s work certainly disproves it.

But what of Rossi’s backhanded praise: “In America … quantity is quality!”? Although absolutely deserving of praise, the quantity of the work is not the basis for Arquitectonica’s achievement—even when associated with the virtuosity of design. The importance of Arquitectonica derives from certain specific contributions to modern architecture in the United States.

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