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In 1975, Honduras was under a military regime that had been in power for over a decade, led at the time by General Juan Alberto Melgar Castro. During this period, Tegucigalpa underwent several big and unprecedented changes. The influx of people from various parts of the country due to rural migration transformed the city from a compact urban area into an expanding metropolis. This unexpected growth prompted the government to implement a municipal development and planning scheme, a project that would define the city's future and the evolution of its old town. This article was developed with the collaboration of the Honduran architect Lisandro Calderón, who specializes in Urban Planning and is currently a professor at the Central American Technological University (UNITEC), located in Tegucigalpa, Honduras.

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Robert Wilson embodies the roles of director, set designer, scenographer, lighting designer, and architect in a single figure. Internationally celebrated as a pioneer of stage lighting and honored with numerous prestigious awards, including the Golden Lion of the Venice Biennale and the Praemium Imperiale, Wilson, now in his eighties, continues to travel the world, staging remarkable productions. His use of light and color is marked by precision and minimalism, creating scenes that skillfully oscillate between stillness and drama. During rehearsals at the Düsseldorf Schauspielhaus, he elaborates on the interplay between stage and architecture, his creative process, and the profound impact of light on darkness.

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Walls have long been more than mere structural elements; they are canvases that narrate stories, reflecting desires for nature, spirituality, or the pursuit of tranquility and stimulation. With advancements in addressable LED pixels, walls have evolved into immersive digital surfaces capable of displaying any image in large format, adapting to the needs of the moment.

However, while universities continue to train architects and interior designers to create static buildings, the art of meaningful storytelling through digital screens—especially those with dynamics—remains largely unexplored in academic curricula.

Modernity and globalization have significantly reduced geographical distances, transformed social interactions, and accelerated the flow of information across nations, which has, in a sense, made the world more accessible to people everywhere. However, it's important to note that when we say "everyone," we refer to a vast and diverse population. Modernity and globalization had an impact on noticeable inequalities in both social and technological realms, as more advanced and privileged nations have established benchmarks and norms for leisure, culture, and consumption. As a result, certain cultures have established a dominant influence, promoting the notion that there is a "correct" way to live and build cities. This unchecked pursuit of development comes at a significant cost to the Earth's ecosystems and biomes.

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From the famous Kitchen Debate between Nikita Khrushchev and Richard Nixon to the popularity of Henry Ford within the USSR, the hundreds of factories designed by Detroit engineer Albert Kahn for Soviet Russia, and skyscrapers erected in Moscow, the Cold War had a peculiar side to it, that is the Russian fascination with American culture and technology.

This article was originally published on Common Edge.

This summer the federal government released an astonishing statistic: 87% of American homes are now equipped with air conditioning. Since the world is getting undeniably warmer, I suppose this isn’t all that surprising, but keep in mind that robust number of mechanically cooled homes include residences in some fairly temperate climates. So my question is a simple one: When did air conditioning in the U.S. became a requirement, rather than an add-on? 

Fifty years have passed since the publication of influential landscape architect Ian McHarg’s book, Design With Nature in 1969. Throughout the United States, an environmental movement was taking place, into the center of which McHarg’s book was thrust. The 1970s and ‘80s were a time of much landmark legislation surrounding ecological concerns, and McHarg argued that landscape architecture alone was able to integrate all the disparate fields involved.

As a firm which has already won major awards, worked on culturally significant projects on a large scale, and generally achieved substantial success and recognition in just over 10 years, SO-IL seem to straddle a line between being an “emerging” and an “established” practice. Florian Idenburg and Jing Liu founded SO-IL (Solid Objectives-Idenburg Liu) in 2008 and have since gained a reputation for modern, clean-lined designs, but often with a unique material twist.

Innovation and technology are often presented as inextricably linked ideas. Yet, when it comes to solving today’s urban problems, technology does not always represent the best way forward.

Innovation instead should come from a thorough understanding of the city’s functions and processes, including its municipal government and other local organizations. Technology can help, yes, but cannot be used as a panacea.

The public will soon have the opportunity to experience the vulnerability and awe of briefly inhabiting an animal domain at the “Reverse Zoo,” LABIOMISTA. Translating to “mixture of life,” the 60-acre project is spearheaded by Belgian artist Koen Vanmechelen and is set to open in 2019.

Indian design and fabrication studio, MuseLAB creates customized furniture and products. Their 2017 creations include to-scale miniature architectural wall hooks. These functional household items were inspired by the works of Oscar Niemeyer, Le Corbusier, Charles Correa, Michael Graves, and others.

Many would consider Greg Lynn the leader of computer-aided design in architecture - but Lynn himself begs to differ. He and the Canadian Centre for Architecture recently collaborated on "Archaeology of the Digital," the first in a series of exhibitions that will showcase the work of the earliest adopters of digital techniques in architecture. The exhibit, which opened on May 7, focuses on work by Frank Gehry, Peter Eisenman, Chuck Hoberman, and Shoei Yoh. In this interview, originally published in Metropolis Magazine as "Computer Control," Avinash Rajagopal speaks with Greg Lynn about some of the projects and the inspiration behind the exhibit itself.