Architects and designers are often looking for ways to make building facades and interior surfaces stand out from the crowd. But sometimes just the smallest change can have the biggest impact once you step back and see the whole picture. By employing an illusionary pattern such as dithering pixels or halftone dots, or by making subtle but intentional changes to the position or orientation of materials, flat surfaces can be transformed into curved, moving forms.

Halftone patterns work by reducing a solid surface of color into dots of decreasing size. As the dots gradually reduce to nothing, they leave nothing behind except a background color. The result is a flat surface with a gradient that mimics the shadows or highlights of a three-dimensional curve. Dithering, meanwhile, is the process of feathering multiple shades of the same color to blend them together. The effect allows designers to, on a large enough scale, create images with depth and curves, while using only a single color. Or even to create the illusion of an intermediary color.

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Architect, critic, and curator Jean-Louis Cohen passed away at the age of 74 yesterday, August 7. Recognized for his extensive research in the field of modern architecture and urban planning, he held the Sheldon H. Solow Chair of Architectural History at New York University since 1994.

Cohen served as a curator for various prestigious exhibitions, including some held at the Museum of Modern Art, the Canadian Centre for Architecture, the Centre Georges Pompidou, the Cité de l'Architecture et du Patrimoine, and the MAXXI. More recently, alongside Brazilian researcher Vanessa Grossman, he curated the exhibition "Geografias Construídas: Paulo Mendes da Rocha," which opened in May at the Casa da Arquitectura in Portugal.

From the changing seasons to the users' interactions, there is almost an infinite set of facets of the architectural project that can be represented through film, and many photographers have entered into this dimension in different formats: documentaries, fixed camera, scripted performances or time-lapses, among others that you can browse in our video section.

Carved stones were the first tools that hominids used to transform their environment. It is exciting to imagine how, since the Stone Age —a period that began approximately around 10,000 BC— and thanks to humanity's long evolutionary process, the tools we used have evolved from simple stones to complex robotic systems. These advancements represent a revolution in production methods, both at the current industrial level and on a local scale.

Technologies such as artificial intelligence (AI) and digital fabrication systems have been perceived as labor-replacing threats varying by context. In Latin America, manual fabrication is deeply ingrained, specialized, and cost-efficient in some sectors, making digital substitution less pressing. In contrast, biomaterials derived from fungi or agro-waste provide environmentally friendly construction alternatives, promoting sustainability and circular economies. This stimulates meaningful discussions about the potential of digital fabrication, requiring an understanding of local resources and challenges. Therefore, it lays the groundwork for biomaterials that preserve identity while offering solutions to local issues.

Since pandemic-imposed restrictions have been lifted, Europe has experienced a surge in tourism, with millions of people visiting some of its most attractive destinations, such as Venice, Barcelona or Paris. The large number of visitors has proved to be a challenge for the cities, creating overcrowding and affecting the local population, urban development, and even the natural ecosystems surrounding the urban areas. In a bid to limit this influx, some of Europe’s most popular cities are taking various measures to address the overcrowding and the subsequent social and infrastructural issues. The measures include fines, entrance fees, and time-slot systems to impose some restrictions.

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Drawing inspiration from the visual style of acclaimed director Wes Anderson, known for films like "Asteroid City" and “The Grand Budapest Hotel,” this new architectural film chronicles the homeland and landscape of Singapore. Directed by Kevin Siyuan, this is the second volume of “A Wes Anderson-ish Singapore” released. Moreover, the 20-minute documentary will be previewed on Singapore’s National Day and focuses on the urban planning, architecture, parks, and the people of Singapore.

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The Portuguese office MASSLAB won a competition promoted by the Housing and Urban Rehabilitation Institute (IHRU, IP) for 100 affordable housing units in Lisbon. The competition aimed to integrate the new buildings with heritage values and the city’s urban fabric next to the Estrela Basilica.

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In the past, glazed surfaces tended to be small and almost opaque; but this began to change throughout the years due to the growing trend of increasingly larger glass panes in construction. Accompanied by thinner frames, they dilute the boundaries between the inside and the outside, and have become ubiquitous in modern buildings. In fact, it is increasingly rare to find a contemporary work of architecture that does not include the remarkable presence of glass: this material is present in the most diverse architectural scales, and its transparency provides harmonious integration with the surroundings and generous natural light for buildings. Traditional systems with frames are still predominant, but frameless glass facades are gaining ground in specific architectural projects, as they create perfect connections between the glass and the structure of the building, resulting in a singular aesthetic with soft and harmonious transitions. By eliminating heavy frames, a project's aesthetics can be enhanced while also improving the quality of life inside.

AKIN has been announced as the winning team in the Barangaroo Harbour Park Design Competition, a project that will transform a central location along the waterfront of Sydney, Australia. The winning team is a First Nations-led and Sydney-based ground composed of Yerrabingin, Architectus, Flying Fish Blue, Jacob Nash Design, and Studio Chris Fox, with Arup as engineering consultants. Through its designers, the group integrates Indigenous knowledge systems along with landscape architecture, regenerative design, public art, and place-making.

Powerhouse Parramata, Sydney’s new largest museum, has been announced to open in early 2025. The museum group overseeing the project sits at the intersection of the arts, design, science, and technology industries. Designed by Moreau Kusunoki in collaboration with local practice Genton, the museum will be located on the south bank of the Parramatta River in Western Sydney, acting as the largest cultural infrastructure project in the Australian capital city since the Sydney Opera House.

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The Islamic Architecture style has a diverse history, spanning over a millennium, stretching from Western Africa to Europe to Eastern Asia. Beginning in early 7th century Arabia, this form of architecture emerged with the rise of the Islamic civilization. In fact, Al Masjid Al Nabawi, the first Mosque to ever be constructed was built in 622, in Medina, Saudi Arabia. Moreover, early Islamic architecture was influenced by the pre-existing styles around the region, such as Roman, Byzantine, and Persian qualities.

Today, Islamic architecture is known for its acute attention to detail, craftsmanship, and its spiritual symbolism. Furthermore, as color plays an essential role in architecture, influencing the emotional experience of the space, different colors have been utilized over the years in Islamic Architecture to evoke certain meanings. In Islamic Architecture, colors hold significant spiritual symbolism, reflecting the values and beliefs of the Islamic faith. Four core colors, Green, Blue, Gold, and White, are each used to convey various cultural, religious, and symbolic meanings.

Read on to discover the use of these colors in various Islamic architectural icons around the world.

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Jenny Holzer (b. 1950, United States)

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To transcend the idea of progressive, linear, Western time. To create strategies for bypassing, crossing boundaries, and escaping the impossibilities imposed by the world. Attentive to the "politics of movement and political movements intertwined in artistic expressions," the 35th Bienal de São Paulo - choreographies of the impossible presents, through spatial intervention and its list of participants, ways of relating that expand the cultural and social aspects defining the seemingly insurmountable crisis we face as a society.

To delve deeper into how spatial, territorial, and architectural issues unfold in this upcoming edition of one of the world's largest and most important art exhibitions, we spoke with the curatorial collective* comprising Diane Lima, Grada Kilomba, Hélio Menezes, and Manuel Borja-Villel. 

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What is the city? It is the opposite of the forest. The opposite of nature. The city is an artificialized, humanized territory. The city is a territory designed exclusively for humans. Humans have excluded all possibilities of other life forms in the city. Any other life that attempts to exist in the city is destroyed. If it does exist, it is thanks to the force of the organic, not because humans want it to.

I was raised in a house with a dirt floor, where I walked barefoot. Chickens and other animals lived with us inside the house. When a chicken left its droppings on the dirt floor, the wet part of the waste was absorbed by the earth. We would pick up the solid part and throw it in the backyard to use as fertilizer. To city people, this is horrifying. Step on chicken droppings? Impossible! There must be perfectly smooth ceramic tile to spot any other life, any other living being that might be there, to disinfect it and kill every microorganism. To kill even what cannot be seen. To walk barefoot, the floor must be disinfected: ceramic tiles were created because humans cannot step on the earth. Shoes were created because humans cannot step on the earth. Because the earth is the original yearning.

Arquicast speaks with one of Brazil's most intriguing and renowned architects, Eduardo Longo. Describing any professional's body of work is a complex task, but it is especially challenging when discussing a figure like Longo, whose career is defined by a rejection of the established principles of his time, consistently seeking innovation and experimentation in architecture. 

There is something very attractive about the combination of lush vegetation and exposed concrete roughness. This is what the book Concrete Jungle: Tropical Architecture and Its Surprising Origins, published by Gestalten, proposes to investigate. The publication offers a reading on modern "tropical architecture", presenting houses located between the Tropics of Cancer and Capricorn and their relationships with their cultural, constructive, and environmental origins. It features several projects and architects, from the 1950s to the present day, tracing a multifaceted panorama that includes residential buildings located in regions as distinct as Brazil, Mexico, India, and Kenya.

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Far beyond its decorative features, landscaping brings with it biological and cultural issues that need to be addressed in projects. However, what can be seen in most public, residential, condominium, commercial and business gardens is a series of approaches that distance landscaping from all its attributes, reducing it to a decorative layer in the construction. Next, we have put together strategies to avoid the main problems of landscape design, joining aesthetics with its environmental and cultural possibilities.

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The year was 1969. Lina Bo Bardi wandered through the São Paulo neighborhood of Bixiga, which at the time resembled a war zone. The clearings and piles of rubble were the result of a violent urbanization cutting through the region in the shape of São Paulo's East-West expressway complex.

Against this backdrop, Lina collected personal objects found in the debris, picking up "the most sordid items," as Zé Celso, director and creator of Teatro Oficina, stated in an interview. There was a clear reason for this undertaking: to compose the set for the play In the Jungle of Cities (Na selva das cidades), designed by the architect herself. In it, a stage shaped like a boxing ring was fashioned from the rubble of the demolitions taking place around the theater. The play was divided into 11 rounds, in each of which an institution is destroyed until the ring itself is demolished. At the end, the actors remove even the theater floor to reach the bare earth.

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Environmental issues have been the defining theme in architecture for several years now. The imminent scarcity of natural resources and growing awareness of the environmental damage caused by the construction industry have forced the profession to take a stand and develop solutions that mitigate its impact on the planet. While developing new technologies that enable more sustainable materials is essential, this impetus can—and must—originate at the very beginning of architectural practice: the design phase.

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Have you ever considered the possibility of a world with no more people experiencing homelessness? The United States did, and countries like Canada, Spain, Portugal, France, and Denmark followed suit, incorporating the Housing First methodology into their national strategies to address the issue.

The formula consists of providing exactly what they lack: housing and connection. The results are consistent and, moreover, beneficial to public coffers. In Brazil, Projeto RUAS is testing the model and seeking resources to expand it. The NGO's goal is to understand how it adapts to our reality and, in the future, propose it to public authorities.

Cities occupy just 3% of the Earth's land surface, yet they account for most of the world's energy consumption and carbon emissions. Many are also highly vulnerable to climate change and natural disasters due to their high population densities and interconnected infrastructure. To prevent the worst impacts of climate change—including human, social, and economic losses—making cities more resilient and prepared for a changing climate is crucial. Yet, recent studies indicate we are still far from achieving this.

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Tropical architecture, a term widely used in architectural discourse, lacks a consistent definition. The adjective ‘tropical’ relates to the zone between the Tropics of Cancer and Capricorn, which covers more than 40% of the earth’s surface. Heat is possibly the only shared characteristic of this belt. The tropical zone holds a range of climates from arid to wet, as well as a variety of geographic, social, and economic contexts. Unlike in temperate or arctic zones, a single umbrella term is used to describe the architecture of the tropics. 

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Graffiti, as an art form, has a complex relationship with gentrification. On one hand, it has engaged the streets and urban fabric as a canvas for people to express themselves culturally and socio-politically. This expression could be a form of rebellion by ethnic minorities and disadvantaged groups in certain neighborhoods, or it can build up a sense of cultural uniqueness and social expression, giving a neighborhood a positive character and attracting newcomers. However, over the years, the latter has been an agent of gentrification, spiking up property values to accommodate richer residents and alienating the native communities of those neighborhoods.

In certain instances, artists recognize their role in this urban scheme and tweak their art form through its style, message, location, and action as direct forms of protest to fight against gentrification. From Brixton, Shoreditch, and Hackney in London, Williamsburg and Bushwick in New York, to The Canal Saint-Denis and Belleville in Paris, the use of graffiti on the streetscapes of these neighborhoods can either protest or inspire different forms of development.

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Materiality is a determining factor in shaping the character and experience of a building. Playing with the aesthetic and tactile qualities of materials, the design process encompasses their analysis, selection, and arrangement to create purposeful and sensory-rich spaces. Alongside textures and patterns, exploring materiality also involves the study of color possibilities. The versatile role of color in architectural materials extends beyond mere aesthetics, as it can broaden design opportunities and influence emotional responses, functionality, cultural relevance, and environmental performance. 

Even though each material has its distinctive inherent color, the addition of artificial or natural pigments can modify them in favor of the project’s identity. Delving into the debate on maintaining raw aesthetics or changing a material’s natural hues, we showcase various projects to study the differences between using natural versus artificial pigmentation of glass, concrete, brick, stone and wood.

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