For this issue of Dearq, "Tectonic Matter," we are seeking contributions that address tectonics not as a style or a fetishization of detail, but as a rigorous field in which the material realities of architecture—such as provenance, craft, labor, structural systems, fabrication protocols, and performance criteria—become inseparable from how space is perceived, inhabited, and understood.
Who can participate: We welcome contributions from architects, historians, theorists, engineers, educators, and researchers addressing this theme. Interdisciplinary approaches and perspectives from specific contexts are encouraged, provided they remain anchored in tectonics as a conceptual and practical field of architectural invention.
The editors invite submissions of research articles, case studies, visual essays, and projects, provided they are original, unpublished, and comply with the journal's editorial policy.
Guest Editors:
Nader Tehrani
(The Cooper Union, USA)
Julián Palacio
(The Cooper Union, USA)
Rafael Villazón
(Universidad de los Andes, Colombia)
Submission period: April 17, 2026 – August 30, 2026
Issue publication: September 2027 (Dearq 49)
More information: https://revistas.uniandes.edu.co/index.php/dearq/callforpapers

RAYANDOLAT: Advanced Architectural Design Workshop with Gustavo Utrabo

An architectural award serves as a legitimizing mechanism, indicating which approaches, materials, and strategies are beginning to take center stage in the discipline's discourse. By bringing together projects with different programs, scales, and constraints, these initiatives bring to light emerging priorities and directions in the field. Within this context, the Shaw Contract Design Awards have established themselves as a global recognition platform for interior design and a barometer of the transformations reshaping the discipline, prompting reflection on the role of design in building more responsible, inclusive, and sustainable environments.

An architectural award acts as a legitimizing mechanism, indicating which approaches, materials, and strategies are taking center stage in the discipline's discourse. By bringing together projects with diverse programs, scales, and constraints, these initiatives bring emerging priorities and directions in the field to light. Accordingly, the Shaw Contract Design Awards has established itself as a global platform of recognition in interior design and a barometer of the transformations sweeping the discipline, fostering reflection on the role of design in creating more responsible, inclusive, and sustainable environments.

Bridging the gap between architecture and landscape, the Villa Medici Festival des Cabanes presents six original architectural creations in the historical gardens, designed by international teams of architects and architecture students, together with a program of summer events.

The competition was launched on March 20th 2026 following a landmark agreement between the City of Zagreb and the Croatian Government. This €224 million joint investment aims to replace aging infrastructure with a world-class, integrated sports precinct. The organisers invite visionary designs for a 35,000-seat stadium and a 'City of Sport' that honours the site's historic character while meeting 21st-century athletic needs.

Brutalist London is the definitive guide to London's post-war Brutalist architecture, documenting more than fifty buildings across the city.

In 1933 the United States government created the Tennessee Valley Authority (TVA) and gave it jurisdiction over a demarcated region—the watershed of the Tennessee. The TVA was authorized to develop the resources in the Valley and promote the welfare of its residents. The TVA pursued these goals by constructing three large-scale operations, referred as the river, land and power machines. The TVA also invested in social projects, including support for housing and tourist industries in the region. The Mechanized Landscape: Statecraft and Environment in the Tennessee Valley examines this comprehensive effort as a form of statecraft—the art of government persuasion and diplomacy—manifested through environmental transformation. It follows the TVA's physical transformations and its investment in infrastructural power—programs that extended the state's capacity to reach even the most remote residents. The product of this process, the mechanized landscape, is a testament to the TVA's complex approach to democracy, its racial and middle-class biases, and its technical and managerial acumen. By bringing together original photography, newly created maps, and text, this book offers a well-researched, visually compelling appraisal of the TVA's plans and their implementation. Rather than following a linear textual narrative, readers are invited to explore the complexity of the mechanized landscape through multiple media.

MATERIA · FORMA is a visual and editorial project documenting the transformation of Spazio Moby, formerly the site of the Moretti furniture factory in Treviso, Italy. The publication — conceived as a photographic and written reflection — chronicles the full arc of an architectural revitalization: from abandonment to renewal, from raw structure to inhabited space.
Opening with a quote from Italo Calvino's Invisible Cities, the book sets its tone immediately: cities of the future already exist in the present, layered and folded within one another. This idea of temporal stratification runs through the entire work. In an era defined by speed, the project deliberately slows down, choosing to dwell on the complexity and nuance of a process that cannot be rushed. Quality, the authors argue, demands care, attention, and the willingness to change direction — a process that is rarely linear.
The photographic gaze at the heart of the publication is intentionally unhurried and non-standardized. Rather than imposing a predetermined visual language, the images adapt to the space and context, seeking to read each environment in its deepest essence. The lens captures fleeting, unrepeatable moments — scenes that exist only in a specific "here and now" during the construction site's successive phases.
The building itself becomes the protagonist: first an abandoned shell, motionless and forgotten, yet rich with traces and memories of its industrial past. As demolition and transformation begin, the structure reveals its latent tension — a potential energy pointing toward what it might yet become. This tension becomes the generative force behind the design process, giving rise to new forms, new spatial relationships, and ultimately a renewed dialogue with the surrounding city.
Text by Silvia Possamai accompanies the visual narrative, weaving together architectural reflection and poetic observation. Together, image and word construct a layered account of time, material, and place — a record of how a forgotten building reclaims its identity and is reintegrated into the urban fabric of Treviso.
MATERIA · FORMA is both a document and a meditation: on the nature of transformation, on the patience that meaningful architecture requires, and on the quiet power of spaces that have been given a second life.

The Egyptian Graduation Projects Competition 3.0 Ceremony by We Are Desco, proudly sponsored by Aedas, is a prestigious event celebrating the top architectural graduation projects across Egypt.

New Schools on the Block presents a decade of school building practice by AFF Architekten, a collective of architects, craftspeople and researchers in Berlin and Lausanne.
For AFF, schools are not just places for learning, but also formative spaces for personal identities. As such, AFF aspires to create buildings that, through the interplay of their design and ways of use, provide settings for experiences that foster a sense of identity. The designs in this book range from the transformation of conventional corridor schools to the creation of new learning clusters. Numerous floor plan studies invite the reader to imagine diverse learning environments, and photos of the built projects show that even handrails or sanitary facilities can constitute engaging elements of design. Essays by Barbara Pampe and Gregor Harbusch, an interview with the architects by Josepha Landes, and cartoons by Peter Auge Lorenz contribute further perspectives that add depth over and above that of a lesson on school design.

Heimtextil Colombia 2026 brings together an international showcase and a knowledge program that highlight a shift in value toward the home and hospitality sectors, where Colombian and Latin American designers are expanding their creative DNA to move up the value pyramid, diversify revenue, and compete in global markets.

The Museum of Architecture, the Great Exhibition Road Festival and Dr Neal Shasore have launched an open international design competition to rethink the Crystal Palace for contemporary society, considering what it might look like, how it would function and who it should serve.

Submissions are open to the Drawing of the Year Awards 2026! The seventh annual, global Awards are free to enter and celebrate excellence in creative imagery, drawings and visual representations.

On May 20, join MAP (Metropolitan Architecture Practice) co-founders Katherine Lambert, AIA, and Christiane Robbins in conversation at Rizzoli Bookstore to mark the release of the firm's new monograph. Created between 2022 and 2024, Architecture x Architecture: A Dialectic captures a pivotal moment when architecture began to grapple with its own synthetic reflection and traces how machine vision and generative AI are shaping multidisciplinary design practice in the 21st century. Edited by Oscar Riera Ojeda (ORO Publishers) with project direction by Christiane Robbins, the volume includes a foreword by Kum-Kum Bhavnani, essays by Bill Seaman, Katherine Lambert, Christiane Robbins, Kyle Steinfeld, and Amanda Wasielewski, and an afterword by Aaron Betsky.

CAMPOSAZ 51:51 | Costruire Centrale - Wooden Self-Build Workshop
The workshop will take place in Ex Centrale del Latte, Vicenza, Italy
From 22-05-2026 to 31-05-2026
Applications must be submitted by midnight on 6 Maggio 2026

Videos

Work is no longer confined to a single place. It moves. It changes. It adapts. Today, it can begin in an office, continue in an acoustic booth, pass through a shared space, and end at home. In this transition, the laptop has become a constant fixture. As work becomes increasingly mobile, spatial needs change as well.

Videos

Work no longer happens in a single place; it is fluid, fragmented, and adaptable. It might begin in an office, move to an acoustic pod, transition to a shared space, and end at home. Throughout this journey, the laptop remains a constant fixture. As work becomes increasingly mobile, spatial configurations must adapt to support this fluidity.