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Curved shapes have always sparked architects' fascination for evoking nature's beauty, fluidity, dynamism, and complexity. To replicate these shapes, however, is no easy task. From their two- or three-dimensional representation to their execution in their final materials, this represents an enormous difficulty, which requires technical expertise and a great amount of knowledge to achieve strong results. Thinking of new ways to produce organic shapes from natural materials is even more complicated.

In addition to this, working with a natural material such as wood carries its own set of peculiarities. Factors such as the species of wood, where the tree grew, what climate it faced, when it was cut, how it was sliced or dried, among many other variables, largely influence the final result. But it's hard for other materials to compare to the beauty and warmth that wooden surfaces bring to the built environment. If the appropriate processes are used, wood can be curved and remain in the desired shape - and for this, there is a number of known techniques which Australian company, Sculptform, has perfected.

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This article was originally published on Common Edge.

In this week's Common Edge piece, Duo Dickinson explores his personal journey from teaching to practice to teaching again, and the differences he perceived. Stating that "no one today believes that school can fully prepare students for what architecture will become in 10 years", the author explains how architectural education has been evolving and questions what could be the best ways to ensure that education remains relevant.

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The Reggio Emilia Approach was created in the post-WWII period at the initiative of widowed mothers and under the coordination of journalist and educator Loris Malaguzzi. In a time of postwar urban reconstruction, the group's primary concern was the formation of new schools, where they wanted to create a peaceful, welcoming, and cheerful environment, with a domestic atmosphere where children could stay while their mothers worked. Understanding the children's interests and providing a suitable environment for exploration and experimentation is one of the focal points of this pedagogy. The creation of a safe and stimulating environment is so fundamental that, in much literature, it appears as a third teacher.

As one of the founding members of Archigram, the avant-garde neo-futurist architecture group of the 1960s, the British architect, professor, and writer Sir Peter Cook (born 22 October 1936) has been a pivotal figure within the global architectural world for over half a century; one of his most significant works from his time with Archigram, The Plug-In City, still invokes debates on technology and society, challenging standards of architectural discourse today.

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Bosske Architecture has designed a new dairy farm facility with a robotic creamery in Northcliffe, Australia. Made for Bannister Downs Dairy, the project creates a ‘grass-to-gate’ facility for the family run, vertically integrated producer. The project was designed to showcase innovation in dairy production and ethical milking practices by opening its doors for public viewing and education.

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Woods Bagot has won an international competition for the design of Sydney’s first luxury hotel in 20 years. The hotel and office tower at 4-6 Bligh Street in central Sydney will be flanked by a mixture of commercial and hotel buildings, shops, restaurants, and cafes.

The unanimous choice of a six-person jury, the Woods Bagot scheme was praised for “a masterful architectural clarity and precision throughout the scheme,” forming an elegant and coherent anchor at the heart of the city.

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Some architects love color, some are unmoved by it, some hate it, and some love to dismiss it as too whimsical or non-serious for architecture. In an essay on the subject, Timothy Brittain-Catlin mentions the “innate puritanism among clients of architecture,” architects and their “embarrassment of confronting color,” and how “Modernism tried to ‘educate out’ bright colors.” So, while the debate on color in architecture is far from being a new one, it is not finished, and probably never will be.

In today’s world where the exhausted stereotype of the no-nonsense architect clad in black still persists, and while we quietly mull over the strange pull of the Cosmic Latte, there are some architects who haven’t been afraid of using broad swathes of color in their work at all. Read on for a list of 7 such exemplary architects both from the past and the present.