Articles

At the heart of a historic and compressed urban fabric, where time seems to settle into granite walls, ceramic roof tiles, and the tile mosaics that paint facades with memory, a narrow and deep townhouse is given a new lease on life. Casa do Carriçal—a renovation of a typical 19th-century row house lot in Porto—proposes more than a simple spatial update. It is an exercise in listening, an attempt to reconcile past and present without rigid hierarchies, revealing the transformative power of everyday architecture.

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It is commonly accepted that the appearance of moss or vegetation on the surface of a building is a sign of neglect, deterioration, or poor maintenance. And this assumption is not entirely unfounded: small cracks in traditional materials can lead to water infiltration, thermal bridging, or even structural pathologies. But what if this organic presence were not a flaw, but the result of coevolution between architecture and the environment? This reversal of perspective was masterfully anticipated by Lina Bo Bardi in the Casa Cirell, in São Paulo, where mosses, orchids, and spontaneous vegetation were part of the architectural intent from the initial sketches. The use of raw stone cladding and exposed surfaces allowed the house to blend into the terrain. More recent projects have further deepened this relationship between built matter and plant life, such as Patrick Blanc's vertical gardens and Stefano Boeri's Bosco Verticale, which transform façades into vertical ecosystems, redefining the architectural envelope as a living infrastructure capable of filtering pollutants, absorbing heat, and fostering biodiversity.

Extreme heat is one of climate change's most urgent and rapidly growing consequences, especially in cities. Urban areas are particularly vulnerable because they trap heat in building materials and urban streets, creating dangerous conditions for residents. As temperatures continue to rise and heat waves lengthen, cities are grappling with how to remain livable in the face of this intensifying threat.

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Located in the south of the "Land Down Under", Melbourne is a city that resists simplistic definitions. While refined Victorian façades confront graffiti-covered laneways, meticulously maintained public gardens coexist with former industrial warehouses transformed into cafés, studios, and cultural spaces. It is precisely in this contrast between deliberate planning and spontaneous appropriation that the architectural essence of the metropolis resides.

Its history begins with the Aboriginal Kulin people, who for millennia inhabited the banks of the Yarra River, developing complex systems of land management, spirituality, and social organization. With the arrival of British colonizers in 1835, the chapter of the modern city began, a process marked not only by urban growth and development but also by violence, forced displacement, and cultural erasure. The effects of this legacy are still felt today, even in the face of contemporary efforts toward recognition and reconciliation.

The future of the architecture industry holds countless possibilities, as research in the domain progresses. One innovation is the ability for structures to be rendered acoustically invisible, absorb earthquake energy, or harvest electricity from the sounds around them. Qualities of this nature can help redefine the functionality and sustainability of buildings. Architects and scientists are at the forefront of this creation. What makes this possible are metamaterials that could offer alternative methods of designing good buildings.

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Buildner, in collaboration with building materials manufacturer Kingspan, has announced the winners of the MICROHOME Kingspan Edition with a 100,000 EUR prize fund.

What does a change in use and/or scale in buildings imply? How can a church or chapel be transformed into a home? While the architecture of many contemporary sacred spaces shows a remarkable capacity for adaptation and evolution, the creative boundaries of many professionals extend beyond their conception as structures of spirituality or worship. Globally, the conversion of large churches and small chapels into private residences reveals a wide field for intervention and exploration, one that can preserve, restore, adapt, and/or renew the character of spaces originally conceived for other uses and scales, which for various reasons have been abandoned, become obsolete, or now require transformation.

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Earth-based flooring materials comprise natural elements such as clay, sand, silt, lime, and organic fibres. They offer both structural performance and sensory engagement when used in both outdoor and interior spaces. Due to their thermal properties, durability, and sustainable qualities, these materials have evolved from vernacular construction techniques into high-value architectural elements that are always being reinvented and optimized. There are several types of earthen floorings, each offering unique benefits, and they are increasingly used in interior settings.

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Think of a chair designed for a meeting room. Its height, upright posture, and material language are deliberate choices—they signal presence, focus, and a degree of formality in a space where important decisions are made. Replace that chair with a low, plush sofa and the entire spatial dynamic shifts: focus softens, posture relaxes, and hierarchies dissolve. Every chair, stool, or sofa is more than just a way to fill space. It is a device designed for a specific type of interaction, a defined posture, a particular rhythm of use. When these purposes are ignored, even the most carefully curated interiors can feel fragmented or incoherent. Furniture plays an invisible yet fundamental role in shaping how people behave, how they feel, and what kind of work happens.

From Bangkok to Billund, a new wave of architectural project announcements is reshaping how spaces for work, culture, mobility, and public life are conceived. Across Norway, Thailand, the United States, Denmark, Australia, and Thailand, these projects reflect an increasing emphasis on technological integration, sustainable construction, and flexible, future-ready environments. Whether designing production hubs for digital creators, adaptable media campuses, or civic landscapes layered with history and ecological intent, each scheme offers insight into how architecture is evolving to support emerging industries, cultural programming, and new forms of public engagement. This edition of Architecture Now brings together a selection of recently announced projects that highlight the intersection of design, technology, and innovation in a global context.

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Under Carlo Ratti's curatorship, the Venice Biennale's 19th International Architecture Exhibition delves into the theme "Intelligens. Natural. Artificial. Collective," with the explicit aim of transforming the city of Venice into a "Living Laboratory." In addition to the 65 national participations and a wide range of educational and collateral events, the exhibition features independent projects that directly respond to the overarching theme. With most of the exhibits showcased in the historic Corderie building, stretching along the south side of the Arsenale, the event offers a dynamic exploration of emerging architectural ideas and urban strategies.

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Aluminum recycling plays a meaningful role in reducing emissions and conserving resources in the built environment. With the introduction of Loop 80, a certified alloy composed of 80% recycled content, Alumil continues its efforts to lower the environmental impact of architectural materials.

Following the 2023 launch of Loop 60, the first certified 60% recycled aluminum for architectural systems, Loop 80 represents a step forward in material efficiency. Certified by TÜV AUSTRIA, the increased recycled content reflects both technical progress and a stronger alignment with circular economy principles in product development.

At the end of each edition of the Architecture Biennale, far from the public eye, tons of exhibition materials are transported across Venice in handcarts and boats. Only a small portion of these materials is reused. The main obstacles are the limited storage space in Venice and the high logistical costs—recurring challenges for circular architecture. As a result, most of the waste ends up in landfills or nearby recycling centers. But this scenario is beginning to change. In response to growing environmental concerns, architects are developing strategies to make reuse more viable. These efforts go beyond architectural and construction decisions—they also involve logistics and international trade.

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Innovation is thriving around the world—and the latest results from the A' Design Award & Competition make that clear. The 2024–2025 edition has recognized 1,823 remarkable designs from 115 countries across 157 creative fields. From architecture and product design to fashion and communication, these entries highlight what happens when imagination meets craftsmanship.

Chosen by an international jury of design experts, this year's winners offer fresh perspectives and bold ideas. The A' Design Award isn't just about recognition—it's about celebrating original thinking and the creative minds reshaping how we interact with the world.

In the productivity-driven dynamics of contemporary cities, playful interventions in public spaces offer an innovative way to reclaim urban environments. These interventions encourage new ways of thinking and acting, temporarily breaking the monotony of everyday life and redefining the concept of play. Once confined to childhood and separate from daily activities, play has begun to intertwine with routine paths, becoming an integral part of urban life even outside traditional leisure times. In this way, reintroducing the swing—the most iconic children's toy—becomes particularly significant. As a symbol of childhood, pleasure, and joy, the swing contrasts sharply with the rigid appropriations of most public spaces, inviting a more relaxed and playful engagement with the urban environment. On June 11th, the UN International Day of Play reminds us of the benefits of incorporating diverse activities into urban spaces, for both children and adults, fostering community, creativity, and well-being.

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The future of architecture isn't just being drawn—it's being coded. Since mathematician John W. Tukey coined the term "software" in 1958 in The American Mathematical Monthly, its influence has steadily expanded, from revolutionizing science and engineering to quietly transforming architecture. What was first embraced as an innovation for structural calculations and drafting has since revealed a much broader potential, becoming a creative driver in architectural narrative and practice.

While that transformation has already taken root—software now embedded in the way we design and think—it continues to evolve. At the recent AIA Conference on Architecture & Design in Boston, current innovations made it clear that we're entering a new chapter: one where software and artificial intelligence aren't just enhancing workflows but actively shaping sustainability, regulation, and decision-making. Architects and software developers now treat code with the same logic as a material—shaped not by modeling or carving, but through parameters, cycles, constant evolution, and feedback. At the same time, architects are working with AI as a co-pilot in the design process, collaborating with it to support decision-making and enhance the design.

Following two International Exhibitions — Broken Nature: Design Takes on Human Survival (2019), which explored the human relationship with natural phenomena, and Unknown Unknowns (2022), which examined the limits of scientific understanding — Triennale Milano now calls on the global cultural, scientific, and artistic communities to confront the pressing issue of inequality.

In an epoch when the risk of species extinction, war and ever-growing geopoliticaI imbalance loom over our future, lnequalities proposes to look again at the sphere of human relations and the increasing inequalities running through it.

The ancient city of Venice, Italy, home to both the art and architecture editions of the Venice Biennale, is known for its unique geography as an island city of canals. Its naval and mercantile prominence now diminished, the city has found a new purpose as a center of learning, exhibiting, and tourism. However, its urban morphology and, indeed, most of its buildings are historic and have remained largely unchanged for hundreds of years. Their appearance exhibits a specific Venetian vernacular that has stood the test of time and stands as a backdrop for the city's contemporary activities. How do the facades of these buildings, particularly their windows, reflect this history? And how do the few modern buildings in the city, such as the Palazzo Nervi-Scattolin, respond to this weight of history?

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