How to visualize architectural concepts in SketchUp using D5 Lite for faster design exploration.

Born and based in the Transylvanian region of Romania, Maria-Cristina approaches architecture with a rich, multifaceted perspective shaped by a diverse academic and professional journey. Holding master's degrees from UTCN and KU Leuven, she has combined rigorous architectural training with a broad curiosity that spans both the creative and analytical aspects of the discipline. Early in her career, she worked in small and medium-sized architecture offices, gaining valuable practical experience, before transitioning into editorial work at ArchDaily in 2022. Since then, she has advanced to Managing Editor, all while pursuing a Ph.D. in architectural studies and serving as a teaching assistant, reflecting her deep commitment to both practice and scholarship.

Maria-Cristina's approach to architecture is rooted in an understanding of its complexity and diversity. She sees architecture not as a fixed definition but as an evolving field where structures, physics, materials, aesthetics, philosophy, and human experience intertwine. Her interest in editorial work grew from this worldview, discovering that writing and designing share parallels: both involve constructing ideas that connect and support one another, much like the elements of a building. Through this lens, she finds joy in crafting essays that communicate complex ideas clearly and simply, emphasizing the uniqueness of concepts rather than words.

What does it mean to build with care, using what others leave behind? This question shapes the work of the Matter Matters Lab, an initiative founded by architect and researcher Catherine Söderberg Esper during the isolation of the pandemic. Drawing from experiences across cultures and motivated by a personal transformation during motherhood, Catherine began to investigate everyday waste as raw material for regenerative construction systems. Her first experiment involved gluing her own cut hair using white glue, initiating a radically intimate and handmade approach. Since then, the lab has focused on transforming organic waste into low-impact architectural materials, inspired by Indigenous knowledge systems and aiming to break from extractive models in construction. Projects like the Avocado Bricks, made from discarded avocado seeds, exemplify this approach of local, circular, and rooted in the idea of reciprocity between matter, place, and care, offering a new way of building with waste.

The way we perceive a space does not depend solely on its scale or form, but on a series of decisions that shape our experience from within. Certain gestures are decisive: clear height, the organization of vertical planes, or the size of the bed. Others operate more subtly, such as the play of light, the tonality of materials, or the use of color. All these variables influence how a space manifests—whether it feels open or contained, segmented or continuous. Along these lines, the use of large-format flooring becomes a key strategy, reducing visual fragmentation and reinforcing surface continuity.

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Buildner has announced the results of its Museum of Emotions Competition Edition 6.

The Museum of Emotions is an annual international design competition that tasks participants with exploring the extent to which architecture can be used as a tool to evoke emotion. The brief calls for the design of a conceptual museum with two exhibition halls: one designed to induce negative emotions; the other designed to induce positive emotions. Participants are free to choose any site of their liking, real or imaginary, as well as choose the scale of the project. The meaning of 'positive' and 'negative' is up for interpretation: What two emotions might a designer consider contrasting? How might an architect conceive spaces which elicit fear, anger, anxiety, love or happiness?

The Museum of Emotions is a 'silent' competition: that is, participants must communicate ideas without text, and must use imagery alone. No form of text, whether design descriptions, annotations or even diagrammatic labels, is permitted.

The Deutsches Architekturmuseum (DAM) in Frankfurt has launched its new exhibition Architecture and Energy: Building in the Age of Climate Change on June 14, which will be open to visitors until October 5, 2025. Developed in collaboration with engineer and sustainability advocate Werner Sobek, the exhibition explores the intersections of architecture, energy, and climate, focusing on the environmental impact of the built environment and the role of architecture in mitigating climate change. By framing architecture as both a challenge and an opportunity in the context of the climate crisis, the exhibition seeks to contribute to a broader shift in thinking, one that positions design as a vital component of a sustainable future.

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Narrating a work of architecture is always a challenge. Images of a project, no matter how accurate or spectacular, often obscure the entire process that made them possible. Documenting these processes—the architectural "kitchen"—is undoubtedly a fundamental part of any work. This is even more true when both the project and its execution methodology deviate from conventional practices. Such is the case with the work built by Susana, an estate manager with no prior construction experience, who took on the commission and carried it out on her own, guided solely by instructions sent via WhatsApp by the project's architect, Manuel Ocaña.

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The Getty Foundation's Conserving Black Modernism initiative was launched in 2022 as a grant program to preserve and ensure the legacy of African American architects within the Modernist movement across the United States. In partnership with the National Trust for Historic Preservation's African American Cultural Heritage Action Fund, it supports conservation efforts, training, and educational initiatives to address the historical oversight of significant architectural landmarks and their designers' contribution. For its third funding cycle in 2025, five new buildings will receive critical support, expanding the initiative's reach into new communities with the first projects in Chicago and the Pacific Northwest.

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Across the rural terrains of North America and Western Europe, traces of past industry remain embedded in the land: mills rusting in meadows, smokestacks punctuating quiet townscapes, the skeletons of once-thriving economies. For decades, these sites have signified decline through the remnants of an extractive era that has shaped the environment and local identity. The challenges of remediation often encompass technical, environmental, and cultural aspects that require creativity, precision, and sensitivity.

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Heritage preservation and economic viability have long been treated as competing priorities in urban development. Architects typically face a stark choice - to design for community continuity or design for financial returns. Contemporary projects in Mumbai render this binary false. Through strategic programming, material choices, and spatial organization, architects enable buildings to generate sustainable revenue while strengthening, rather than displacing, existing communities.

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Mongolia, the world's second-largest landlocked country, spans 1.5 million square kilometers. Yet, over 50% of its population—approximately 1.7 million people—reside in Ulaanbaatar, a city that occupies just 0.3% of the nation's total land area. This disproportionate population concentration has led to significant regional development imbalances and mounting urban challenges in the capital.

In response to these issues, Ulaanbaatar has undergone a series of comprehensive urban development initiatives. Since the first master plan was introduced in 1954, six such plans have been created. The latest, the Ulaanbaatar 2040 Master Plan, includes a strategic vision to decentralize urban growth through the development of two new satellite cities—one of which is the Hunnu City project.

As Expo 2025 Osaka passes the midpoint of its six-month duration on July 13, the international exposition continues to serve as a global platform for architectural experimentation, cultural exchange, and technological innovation. Officially opened on April 13 on the reclaimed island of Yumeshima, the event is organized under the theme "Designing Future Society for Our Lives," and has already welcomed more than 13 million visitors as of late July. Conceived as a space for collaboration across disciplines and borders, the Expo brings together more than 150 national, thematic, and corporate pavilions.

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The Ukrainian pavilion at the 19th International Architecture Exhibition – La Biennale di Venezia explores the intersection of traditional building methods and improvised construction during wartime crises. Under the title "DAKH (ДАХ): Vernacular Hardcore", the exhibition refers to the concept of the roof ("dakh" in Ukrainian) as a primary shelter in architecture, examining the roofs of an "architecture without architects" both in the country's constructive tradition and in the contemporary reality of aerial vigilance over its national territory. Curated by Bögdana Kosmina, Michał Murawski, and Kateryna Rusetska, the Ukrainian display consists of a six-element exhibition at the Arsenale's Sale d'Armi and an accompanying nomadic program titled Planetary Hardcore.

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Red clay roof tiles appear in many architectural traditions around the world, despite the cultures being geographically or historically distant. However, this isn't necessarily surprising. Clay is an abundant and accessible building material worldwide, with some studies and other sources suggesting it comprises approximately 10-13% of the Earth's soils. Red tiles, in particular, are often a product of the local soil's mineral content and the firing process. Their widespread use across unrelated regions is less about shared cultural influence and more about material logic: clay is cheap, durable, and easy to work with using simple tools and techniques. In Vietnam, for example, there is a unique and visible tradition of clay tile use that dates back centuries. Regions like Vinh Long, nicknamed the "kingdom of red ceramics", have an abundance of this material, supporting a long history of tile-making. In some parts of Vietnam, these tiles are known as Yin-Yang tiles, due to the concave and convex shape in which they are formed during production.

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Contrast can be widely used in architecture as a tool to highlight what we want to showcase. Do we want to emphasize an entrance? Make the project stand out from its surroundings? Turn our architecture into a landmark in the urban—or rural—landscape? Do we need to create symbolism? Ensure legibility? How do we achieve this? How do we "shine a light" on something?

Whatever we want to highlight is amplified through comparison—by means of an exaggerated, antagonistic contrast. Intentionally, we can intensify the use of darkness to emphasize a single light source, framing a staircase in a dramatic and theatrical way. Or we can introduce solid, opaque walls to make a light, transparent entrance stand out.

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While Hong Kong is widely celebrated for its iconic harbor view, glittering skyline, and fast-paced urban lifestyle, its origins tell a different story—one deeply rooted in its relationship with water. Before transforming into a dense, vertical metropolis, Hong Kong's architectural identity was closely tied to its maritime context. Today, the city is often associated with slender, glass-clad towers that symbolize modernity. While visually striking in their pursuit of height and form, many of these buildings appear disconnected from their immediate environment, often overlooking natural site conditions, ecological responsiveness, and contextual sensitivity.

Historically, however, this was not the case. Hong Kong's earliest built environments—rural fishing villages in areas like Tai O, Aberdeen, and Shau Kei Wan—emerged through organic, community-driven spatial practices that engaged closely with their surroundings. These coastal and riverside settlements developed architectural systems tailored to the marine environment and to the rhythms of fishing life. Villages were sited around water, and construction strategies were adapted to fluctuating tides, terrain, and social use.

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The 2025 Versailles Biennale of Architecture and Landscape (BAP! 2025) brings together global thought leaders in architecture to discuss the critical role the discipline plays in addressing climate change, sustainability, and evolving urban needs. Through a series of in-depth interviews with curators, architects, and designers from Paris, Mexico City, and Spain, the event provides a platform for diverse perspectives on how architecture can respond to contemporary challenges.

Curators Sana Frini and Philippe Rahm lead the charge in presenting an exhibition that explores how architecture can adapt to the environmental shifts forecasted for the near future. From sustainable practices to integrating cultural contexts, the conversations captured in these interviews highlight innovative approaches to creating spaces that are not only functional but deeply responsive to the changing climate and societal needs.

The Urban Initiatives Map, created by OSPA Place in partnership with the Responsive Cities Institute, is a free, collaborative mapping platform showcasing urban transformation projects driven by innovation, technology, and citizen participation. The initiative aims to identify, highlight, and give visibility to transformative urban experiences; inspire other cities with open innovation models; strengthen collaborative networks among public, private, academic, and civil society stakeholders; and share solutions that have a real impact on the population.

Facing an interconnected planetary climate crisis, biodiversity loss, and resource depletion, regenerative design emerges as a pathway toward building resilient and ecologically attuned rural futures. At the intersection of architecture, agriculture, and local ecosystems, new models of resilient, self-sufficient agricultural practices are emerging. These projects are not grand industrial systems but small-scale, precise, and deeply contextual architectural interventions that create spaces that foster sustainable cultivation while respecting environmental rhythms, local materials, and community knowledge.

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The 2024–2025 edition of the Europe 40under40 Awards has announced its selected architects and designers, recognizing emerging professionals under the age of 40 working across Europe. Organized by The European Centre for Architecture Art Design and Urban Studies and The Chicago Athenaeum, the program highlights a range of built and conceptual work that reflects contemporary approaches to architecture and design. This year's selection brings together young architects and designers from Cyprus, France, Greece, Italy, Norway, Poland, Portugal, Spain, Sweden, Switzerland, and Turkiye, offering a wide-ranging perspective on Europe's contemporary architectural discourse.

The selection was made by a jury composed of Melike Altınışık, Hans-Petter Bjørnådal, Eleni-Stefania Kalapoda, and Adrian Yap, who evaluated submissions from a range of scales and typologies. The winning projects will be presented in the exhibition "40 Young European Architects with New Visions," opening on December 5th, 2025, at The European Centre, Contemporary Space Athens. A special yearbook publication by Metropolitan Arts Press will also document the selected works, making them accessible to international audiences. Submissions are now open for the 2025–2026 edition, with a deadline of December 15, 2025.

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Jenny E. Sabin is an American architect, designer, and educator known for her work at the intersection of architecture, computation, and biomaterials. She integrates digital fabrication, responsive materials, and bio-inspired design into her architectural practice and runs an experimental architecture studio, Jenny Sabin Studio, based in Ithaca, NY. In this interview with Louisiana Channel, she shares her personal journey from artist to scientist, explains how biological and material systems can be applied at an architectural scale, and discusses her teaching and research roles at Cornell University. She elaborates on her interest in bringing people together through new strategies for responsive and adaptive architecture. In her view, the connections between the digital, the physical, and the biological define a paradigm shift in the evolution of architecture, converging with other realms of physical experience to create a more interconnected future.

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As cities around the world respond to shifting environmental, cultural, and social dynamics, new architectural proposals are reshaping how we think about public life, community engagement, and the built environment. From Aldar's coastal wellness destination on Fahid Island in Abu Dhabi, to a flexible scaffolding-based office concept in Athens by Georges Batzios Architects, this edition of Architecture Now features diverse projects that reinterpret architecture as both infrastructure and interface. In Seoul, Heatherwick Studio is leading a resident-initiated redevelopment model for a housing complex near the Han River, while Toronto's College Park is set for a major transformation balancing heritage restoration with vertical intensification. In Oklahoma City, MANICA and TVS are designing a new sports arena that anchors an emerging entertainment district through material, landscape, and civic gestures. Together, these diverse yet interconnected efforts signal a broader shift toward integrated, future-oriented urban design.

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The 2025 edition of the European Cultural Centre's (ECC) Time Space Existence exhibition in Venice is guided by the mandate to "Repair, Regenerate, and Reuse." Aiming to move beyond surface-level solutions and overused terminology, the exhibition showcases a cohort of practitioners who interpret architecture as an active agent of repair. The most compelling works presented in Venice demonstrate that "repair" is a multifaceted practice, operating across material, social, and historical registers. The varied approaches showcase a shift in the role of the architect, from a master builder and designer of physical objects, to that of a mender, able to combine technology, community, and material intelligence to restore narratives and build stronger cultural systems.

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Humanity rarely embraces major transformations right away, often held back by fear, skepticism, or attachment to what already works. Gutenberg's press raised fears of misinformation; urban electrification drew warnings from doctors; and office computerization sparked concerns over the devaluation of human experience. Such ruptures often provoke resistance, but they tend to open space for critical reflection and innovation.

Today, with the rise of artificial intelligence and the rapid succession of technological innovations, we are living through another of these inflection points. The debate is broad, inevitable, and, as always, necessary. At the TRUE Conference 2025, hosted by Midea Building Technologies (MBT), this discussion takes on practical and strategic dimensions by linking digital advancements with tangible goals for sustainability, efficiency, and quality of life.

MVRDV has completed the GATE M West Bund Dream Center, a major adaptive reuse project that transforms a former cement factory into a dynamic cultural and leisure district in Shanghai. Located along the city's Huangpu River, the development contributes to the growing series of West Bund cultural initiatives and offers a wide array of public amenities, from food and retail spaces to climbing facilities, event venues, and riverside relaxation areas. Once the site of Asia's largest cement factory, the area underwent a significant shift following the 2010 Shanghai Expo, which prompted the relocation of industrial activities and the revitalization of the riverbanks.

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