
This guide covers a workflow that moves from project parameters to generated floor plans, 3D perspective views, exterior design exploration, and site context visualization, using AI tools in place of preliminary CAD and rendering work.

This guide covers a workflow that moves from project parameters to generated floor plans, 3D perspective views, exterior design exploration, and site context visualization, using AI tools in place of preliminary CAD and rendering work.




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.

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.




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.
