US studio Rafael Viñoly Architects has unveiled its plans for an international terminal at Florence Airport in Italy that will be crowned by a 7.7-hectare vineyard.

The airport terminal will encompass 50,000 square metres and is expected to be used by more than 5.9 million passengers annually.

Few details about the design have been released, but the terminal's main feature will be a vast sloping roof, which will be lined with skylights and 38 rows of usable vineyards.

According to Rafael Viñoly Architects, this is a nod to Florence's reputation as "the heart of Italy's renowned wine country", Tuscany.

"Unique to the new terminal will be a 19-acre (7.7 hectares) vineyard that gently slopes upward to embrace the sky-lit airport terminal," said the studio.

"A leading vintner from the region will cultivate the vineyards, and the wine will be crafted and aged in specialized cellars beneath the terminal's roof."

Inside, the terminal will feature a large piazza-like space at its centre, which will be flanked by the arrivals and departures areas on opposite sides.

This central space will be linked to transport, parking and retail spaces open to both passengers and local people, and is hoped to streamline circulation for the terminal.

Other key elements of the proposal include the reorientation of Florence Airport's, formerly Aeroporto Amerigo Vespucci, existing runway by 90 degrees. This move will turn the runway away from the surrounding hills and lengthen it to better suit modern aircraft.

The plans will also improve the airport's links to the city and wider region through "multi-modal transport options including a new light rail system", the studio said.

Rafael Viñoly Architects was founded in 1983 by the late architect Rafael Viñoly. Its construction of the airport terminal will be carried out in two phases, with the first slated for completion in 2026 and the second in 2035.

The studio's other recent projects include the supertall skyscraper 432 Park Avenue in New York and its proposal for National Medal of Honor Museum in Arlington.

Other recent terminal designs featured on Dezeen include one for Techo International Airport by Foster + Partners that will have a  "tree-canopy" roof, and a feather-like structure for Changchun airport in China by MAD.

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These construction photos capture One Za'abeel, a pair of skyscrapers and a 230-metre-long cantilever, on which Japanese studio Nikken Sekkei is nearing completion in Dubai.

In the construction images revealed by One Za'abeel, the complex is shown near completion with its record-breaking skybridge, named The Link, spanning a six-lane highway.

According to Mace, one of the construction companies working on the project, the steel and glass bridge is the "world's longest cantilever".

It is just 16 metres shorter than the smallest of the two skyscrapers that flank it, which measures 235 metres in height. The tallest of the two buildings extends to 305 metres, making it a supertall skyscraper.

Nikken Sekkei is set to officially complete One Za'abeel at the end of this month. Being one of the first visible structures for those travelling from the airport, it is hoped to become a landmark for Dubai.

Inside, The Link contains an infinity pool that runs its entire length. The horizontal structure will also feature a range of restaurants, as well as retail and leisure facilities.

These offerings form part of a wider mixed-use programme for the complex, which will also contain offices, hotels and residences.

According to Nikken Sekkei, One Za'abeel's "iconic design strikes a clear departure from the existing buildings around it".

One Za'abeel has been designed by Nikken Sekkei for developer Ithra Dubai. The lift of the dramatic cantilever over the highway was carried out over the live highway in 2020.

The project is not the first record-breaking building in Dubai. The city is also home to the 828-metre-tall Burj Khalifa, the world's tallest building, which was completed in 2010 to a design by architect Adrian Smith while working at architecture studio SOM.

Other habitable buildings with significant cantilevers include the Busan Cinema Center in South Korea, which features a roof with a column-free cantilever of 85 metres, and the observation deck at Marina Bay Sands in Singapore, which projects 66.5 metres.

The photography is courtesy of One Za'abeel.

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Double-height balconies and outdoor teaching spaces enliven the facades of The British School in Tokyo, which architecture practice Heatherwick Studio has completed in Japan.

The school is located in the south of Azabudai Hills, a mixed-use district designed by Heatherwick Studio, which is made up of various timber buildings defined by curving roofs and greenery.

Heatherwick Studio's and Japanese developer Mori Building Company's ambition for the school was to be visually distinct yet complementary to these neighbouring structures.

"The client wanted the school to have a different but complementary character to the rest of the Azabudai Hills scheme," the studio told Dezeen.

"As such, it nestles within the pavilion and landscape scheme we've created, overlooking the central garden plaza to the north," it continued.

"The client also wanted it to have a strong individual presence on the street that didn't feel commercial or business-like. They wanted it to feel friendly and approachable, like a school!"

According to Heatherwick Studio, the presence of the school within the district references the impact of Stanton Williams' placement of the arts college Central Saint Martins in the heart of King's Cross in London.

"We felt that – as seen with Central Saint Martins at the centre of the King's Cross development – having a school can be a key anchor to a project, bringing life and activity to the scheme from different angles," the studio explained.

To achieve its distinct identity, the studio animated the building's facades with a mix of outdoor play spaces and double-height balconies.

Curved brick details and fluted columns were also designed visually soften the blocky form of the building, which was dictated by the given site's boundaries and the client's programme requirements.

"The plot boundary and programme were already fixed, which resulted in an, approximately, 100-metre-long building of seven storeys," the studio explained.

"Because of the block-like form, we worked hard to adjust its character for its three main elevations, using the required outdoor learning spaces and playgrounds to bring variety to the building's appearance."

The balconies can be seen along the eastern facade, arranged in a cascading formation and overlooking a garden at the centre of Azabudai Hills. Meanwhile, the stepped columns can be found all around the building.

"The stepped columns both push through and blend open to create fluting ceilings under the main outdoor terraces, drawing the eye up along its elevations," the studio explained.

Inside, The British School in Tokyo has 40 classrooms, alongside music rooms, libraries, a laboratory and a roof garden with a vegetable patch.

Each year group also has a common area, which opens onto the adjoining outdoor spaces. They can also be connected to the classrooms through sliding timber screens.

A range of sports facilities, including an indoor hall, gymnasium and swimming pool, alongside two outdoor pitches, complete the building.

Elsewhere in the district, Heatherwick Studio has created residential buildings, retail and restaurant spaces, two temples, art galleries and offices, which collectively replaced more than 200 existing structures on the site.

The British School in Tokyo's brickwork and columns are intended as a reference to the facade of the old Azabu Post Office that previously occupied a neighbouring plot.

Heatherwick Studio is a London architecture and design studio founded by British designer Thomas Heatherwick in 1994.

Its other recent architectural projects include proposals for a public library in Columbia and an exhibition hall in Shanghai.

The photography is by Raquel Diniz and the video is courtesy of Heatherwick Studio.

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In this video produced by the Royal British Institute of Architects, Ghanaian-Scottish architect and educator Lesley Lokko reflects on her career and Royal Gold Medal win, which was announced today.

"There's been a lot of talk about how what I do isn't architecture," reflected Lokko.

"It was always very clear to me that there was a difference between the profession of architecture and the discipline of architecture. I think in the last 10 years, we're beginning to see those two things come slightly closer together," she continued.

"I very much hope that this medal demonstrates that it's worth it to think differently. It's worth it to go off-piste or to go off the beaten track."

Lokko is the first African woman to receive the prestigious Royal Gold Medal from the Royal British Institute of Architects (RIBA) since it was established in 1848.

She is also the third woman to win it in her own right – rather than as part of a team – following in the footsteps of architects Zaha Hadid and Yasmeen Lari.

In the RIBA film, the organisation's president Muyiwa Oki said Lokko was selected as the 2024 recipient for her "groundbreaking work as an educator, curator and as an author".

He is among several interviewees who also feature in the video, with others including architect Lanre Gbolade, Lokko's Royal Gold Medal nominator.

"In professor Lokko, with her progressive teaching methods to both present and future practitioners, as well as transformative and influential leadership capabilities spanning well over 30 years and counting, we truly do have a once-in-a-generation agent of change," said Gbolade.

Lokko is best known as the founder of the African Futures Institute (AFI), a school of architecture in Accra, and for her written work including the White Papers Black Marks essays.

More recently, she was the curator of the 18th International Architecture Biennale in Venice, which explored decarbonisation and decolonisation through the lens of Africa.

She will be formally presented with the 2024 Royal Gold Medal on 2 May 2024.

The video is courtesy of RIBA.

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Ghanaian-Scottish architect and educator Lesley Lokko has been named the recipient of this year's Royal Gold Medal by the Royal Institute of British Architects, making her the first African woman to win the award.

Lokko, who is also an author and curator, is the third woman to receive the prestigious accolade in her own right – rather than as part of a team – since it was established in 1848. The others are architects Zaha Hadid and Yasmeen Lari.

The Royal Institute of British Architects (RIBA) said Lokko has been selected for "relentlessly pursuing inclusivity and equity in the field".

"A fierce champion of equity and inclusion in all aspects of life, Lesley Lokko's progressive approach to architecture education offers hope for the future – a profession that welcomes those from all walks of life, considers the needs of our environment, and acknowledges a broad range of cultures and perspectives," said RIBA president Muyiwa Oki.

"A visionary agent of change, Lesley has dedicated her life to championing these values, not only through academic endeavours, but through her work as an author and curator," he continued.

"She remains a humble revolutionary force, with her ambition and optimism etching an indelible mark on the global architectural stage."

Lokko is best known as the founder of African Futures Institute (AFI), an independent school of architecture in Accra, Ghana, which exists to reimagine "Africa as the crucible of the future".

More recently, she has made waves as the curator of the 18th International Architecture Biennale in Venice. She was the first person of African descent to curate the event.

Lokko described her RIBA Royal Gold Medal win as "such a surprise" and "a testament to the people and organisations I have worked with that share my goals".

"This was never on the cards," she reflected.

"I'm delighted to be considered alongside some of the great past winners of the Royal Gold Medal. Although this is a personal award, this isn't merely a personal triumph, this is a testament to the people and organisations I have worked with that share my goals," Lokko continued.

"I came into architecture seeking certainties, looking for answers. Instead, I found questions and possibilities, far richer, more curious, and more empathetic ways to interpret and shape the world. Architecture gave me language, in all its forms – visual, written, built, performed – and that language, in turn, has given me such hope."

Lokko has a PhD in Architecture from the University of London and is the author of essay collection White Papers Black Marks, as well as 13 novels including Sundowners.

Over the last two decades, she has taught architecture to students around the world. She founded the Graduate School of Architecture at the University of Johannesburg and served as dean of The Bernard and Anne Spitzer School of Architecture at The City College of New York.

Her edition of the Venice Architecture Biennale was named The Laboratory of the Future and explored the themes of decarbonisation and decolonisation through the lens of Africa. In an exclusive interview with Dezeen before the event, she said Africa is a "powerful place from which to examine the issues that will dominate the next century".

The 2024 Royal Gold Medal will be formally presented to Lokko in London on 2 May 2024. It follows several other awards given to Lokko, including an OBE in 2023 for her services to architecture and education and the RIBA Annie Spink Award in 2020 for her "outstanding contribution to architectural education".

This year's selection committee was chaired by president Oki and consisted of 2023 Royal Gold Medal winner Lari, RSHP senior partner Ivan Harbour, London School of Architecture's head Neal Shasore and Walters & Cohen partner Cindy Walters.

Other women to have won the RIBA Royal Gold Medal include Ray Eames, Patricia Hopkins, Sheila O'Donnell, Shelley McNamara and Yvonne Farrell.

Norman Foster, Nicholas Grimshaw, Frank Gehry and Frank Lloyd Wright are also among the previous winners.

Read the full jury citation below:

Professor Lesley Lokko is an educator, author, and curator. A luminary architect and renaissance figure who has etched an indelible mark on the global stage. For over two decades Lokko has been rightly recognised for her groundbreaking contributions to architectural education, dialogue, and discourse from a Global South perspective – relentlessly pursuing inclusivity and equity in the field. Not only is Lokko the first African woman to receive this honour, but she also now takes her place among architecture's defining figures.

One of her crowning achievements is the Architectural Futures Institute (AFI) nestled in Accra, Ghana – an architectural education centre, that reimagines Africa as a crucible of the future, where novel urban forms are collaboratively conceived. The AFI stands as a beacon, acknowledging the contributions of women from the African diaspora. It extends an invitation to embrace opportunities and exalts courageous and creative voices.

A guiding force for creativity, Lokko's curatorial prowess shone brilliantly in her recent stewardship of the Venice Biennale 2023, a groundbreaking event that united African and Africa-related architectural expressions for the first time. It was a platform where emerging and established African architects and designers converged to create ‘The Laboratory of the Future', a six-part exhibition igniting the discourse on decarbonisation and decolonization. Under Lokko's curatorship Nigerian artist, designer, architect and master builder, Demas Nwoko was the first Black person to be awarded the prestigious Golden Lion for Lifetime Achievement at the International Venice Biennale.

Her pivotal role on the board of the pioneering New Architecture Writers program in London, dedicated to supporting "professionals of colour who are under-represented across design, journalism and curation", underscores her commitment to diversity. Remarkably, Lokko's seminal work White Papers Black Marks was published over two decades ago in 2000. In 2020, she was awarded the RIBA Annie Spink Award for Excellence in Architectural Education for her impactful leadership, passion and an unwavering commitment to architectural education and research, in particular her lectures and published works focusing on the subjects of race, identity and architecture.

While Lokko's impact extends beyond architecture, this honour acknowledges her prodigious contributions to the architectural domain. Her work champions diverse approaches to practice, and pushes the boundaries of what architecture is, and what it can achieve.

She ardently advocates for individuals from all walks of life to partake in the tapestry of architecture; and her interpretation of architecture as culture, an art form that fosters public dialogue centred on ideas and content rather than only function, democratises architecture, making it accessible to all.

Lokko's work is a clarion call for equitable representation in policies, planning, and design that shape our living spaces. Her pedagogical footprint spans diverse cultural landscapes, from the United States and the United Kingdom to South Africa and Ghana.

This medal honours Lokko's resounding voice. It is a testament to her unwavering commitment to advancing architectural education and redressing imbalances by amplifying the voices of underrepresented people in shaping our built environment.

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Photographer Rasmus Hjortshøj has captured a pair of spiky high-rise buildings by Danish studio BIG as they near completion in Copenhagen.

Named Kaktus Towers, the pair of jagged buildings comprise 495 residences and are linked by a raised public park that slopes between them.

According to BIG, while the towers themselves are open and inhabited, the communal facilities and public park will reach completion late this spring.

The Kaktus Towers are among the upcoming buildings featured in Dezeen's roundup of 12 interesting architecture projects scheduled to reach completion in 2024.

Their distinctive look is achieved through the rotation of their floorplates, which provides each home with a unique view of the Danish capital's Vesterbro district. Their corners are also opened up as balconies.

BIG has designed the tallest of the two towers to reach 80 metres and, together, they encompass 26,100 square metres.

Hjortshøj's photos capture the completed exterior of the Kaktus Towers for the first time, with the planting on the elevated park and balconies still to be added.

The images also offer a glimpse inside one of the Kaktus Tower apartments, which is lined with exposed concrete and wooden joinery including floor-to-ceiling kitchen cabinetry.

BIG has said each residence has "custom-designed interiors" along with their private angular balconies.

A circular walkway that wraps around the central circulation core can also be seen in the photos.

Alongside the elevated public park, the Kaktus Towers' upcoming communal areas will include an outdoor kitchen, a cafe and fitness areas.

At the base of the towers will be a public plaza that links to an existing train station adjacent to the site.

BIG is an architecture studio that was founded by Bjarke Ingels in 2005. It has studios in Copenhagen, New York, London and Barcelona.

Elsewhere, BIG is also scheduled to complete its new Copenhagen headquarters in 2024, as well as the stone-clad One High Line skyscrapers in New York.

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Kitchens can often be difficult to keep tidy, but this lookbook demonstrates how floor-to-ceiling cabinets are an effective way to streamline and create clutter-free backdrops for food prep.

Traditionally, kitchens are designed with floor and wall cabinets dropped below the ceiling to ensure they are reachable. However, today many architects and interior designers are opting for full-height solutions instead to maximise storage space.

The examples in this lookbook show that floor-to-ceiling storage solutions are suited to kitchens of any size and style, and can be used to conceal clutter, appliances and even doorways.

A bonus is that these cupboards also minimise areas for dust to gather, requiring less time spent on cleaning and leaving more for cooking.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring homes with net floors, mid-century modern furniture and perforated brick walls.

TS-H_01, Switzerland, by Tom Strala

This minimalist kitchen, belonging to a home near Bern, features floor-to-ceiling storage concealing not only clutter but also a doorway to a garage.

The white wall of cabinets is dotted by circular handles lined with smooth timber and forms a slick backdrop to the chunky prep counter, raw plaster walls and pale wooden floorboards.

Find out more about TS-H_01 ›

Churchtown, Ireland, by Scullion Architects

Oak-panelled cabinetry runs through the light-filled kitchen of Churchtown, a residential extension in Dublin informed by Victorian conservatories.

While maximising storage, the cupboards are designed to conceal appliances and a pantry. The warmth of the oak is complemented by cool-toned white terrazzo on the floor and worktops.

Find out more about Churchtown ›

Sacha, France, by SABO Project

Full-height birch plywood joinery is used to store the contents of this kitchen, designed by SABO Project within a Parisian apartment.

The cupboards are almost disguised as a solid block, with small arched cut-outs subtly demarcating each door. One of the panels features a larger arched opening, which opens into a cosy nook for the owner's cat.

Find out more about Sacha ›

The Amagansett Beach House, USA, by Starling Architecture and Emily Lindberg Design

The floor-to-ceiling units in this kitchen help draw attention to more playful design details in the room, including a sculptural custom island animated by exaggerated forms.

Finished with wood and a lack of handles, the cabinets also blend into the floors and ceilings, disguising them as walls and creating a pared-back aesthetic for the room.

Find out more about The Amagansett Beach House ›

Barbican Apartment, UK, by John Pawson

Designer John Pawson used full-height storage in the compact kitchen of this London apartment to help achieve his signature minimalist aesthetic.

The abundance of storage ensures the space is uncluttered, while a lack of handles on the cabinetry allows them to blend into the background. The rest of the home, which is located in the brutalist Barbican Estate in London, is designed with the same pared-back aesthetic.

Find out more about Barbican Apartment ›

The Parchment Works, UK, by Will Gamble Architects

Matte-black cabinets with brass handles define the kitchen of The Parchment Works, which Will Gamble Architects created from the shell of an old cattle shed in Northamptonshire.

Stretching from floor to ceiling, the kitchen units slot in beneath rows of timber joists belonging to the original structure. Their dark colour ensures focus retains on the tactile wooden surfaces above, as well as the adjacent whitewashed masonry walls.

Find out more about The Parchment Works ›

Botaniczna Apartment, Poland, by Agnieszka Owsiany Studio

Polish studio Agnieszka Owsiany Studio married wood and marble throughout the interior of this apartment in Poznań.

In the kitchen, full-height oak cabinetry lines one wall, punctured by a marble-lined recess containing a stove. The cabinets are finished with long handles in matching oak.

Find out more about Botaniczna Apartment ›

Portage Bay Float Home, USA, by Studio DIAA

These storage units follow the gabled roofscape of The Portage Bay Float Home, which Studio DIAA co-founder Suzanne Stefan created for herself in Seattle.

The wooden cabinetry sits flush with a cooker hood above the stove, which is finished with juxtaposing stainless steel that has a brushed look.

Find out more about Portage Bay Float Home › 

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring homes with net floors, mid-century modern furniture and perforated brick walls. 

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Architecture studio Snøhetta has shared construction photos of Čoarvemátta, an angular educational facility nearing completion in Norway's Sápmi region.

Čoarvemátta is being designed by Snøhetta on the outskirts of central Kautokeino for Sámi National Theater Beaivváš and Sámi High School and Reindeer Husbandry School, which are two important institutions in the area that has traditionally been inhabited by the Sámi people.

It is among the upcoming buildings featured in Dezeen's roundup of 12 interesting architecture projects scheduled to reach completion in 2024.

Just visible from within its snowy surroundings, Čoarvemátta's curving timber forms can be seen taking shape for the first time in the photos.

It is being designed by Snøhetta to blend in with the landscape while evoking the innermost segment of a reindeer antler – a part that is highly valued by the Sámi people.

This element of the antler is frequently used as the primary material in gárraduodji, which is a traditional Sami handicraft involving the making of knives and similar tools.

"The ambition is a building blending into the surrounding landscape, avoiding sharp angles breaking with the landscape’s natural shapes," said Snøhetta.

"The shape of the building is inspired by the innermost joint of the reindeer horn – a part of the horn that symbolizes different qualities and strengths but also represents two elements that unite," it added.

"In fact, the name of the project Čoarvemátta comes from the Sámi words 'čoarvi' and 'mátta', meaning 'horn' and 'root'."

Once complete, Čoarvemátta will be cloaked in wood to mimic a cloth from the outside and give the interior the feeling of a lavvu – a temporary fabric dwelling traditionally used by the Sami people.

The heart of the project will be a central meeting point, from which the building will extend in three directions into rooms dedicated to both reindeer husbandry and traditional Sámi handicrafts.

According to Snøhetta, the goal of the project is to help solidify the two Sámi National Theater Beaivváš and Sámi High School and Reindeer Husbandry School's "cultural position" in Norway.

"Assembling all functions under a generous roof, and creating robust and spacious rooms, the aim is to facilitate synergies between building and users, theater and school, and architecture and landscape," said the studio.

The project was commissioned by the Norwegian Governmental Building Agency in June 2021. Snøhetta is developing it with the architectural studio 70°N Arkitektur, contractor Econor and Sámi-Norwegian architect Joar Nango who recently exhibited his nomadic library at the Venice Architecture Biennale.

Snøhetta is an architecture and design studio founded by architects Craig Dykers and Kjetil Trædal Thorsen in 1989. It is expected to open Čoarvemátta in late August.

Alongside Čoarvemátta, the studio is also expecting to reach completion on several projects in 2024 including the barrel-vaulted El Paso Children's Museum in the USA and Beijing City Library in China.

The photography is by Svein Solheim and the renders are by Snøhetta.

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Architecture contest Antepavilion will return to London this year in a new location, following a two-year hiatus caused by a dispute with Hackney Council.

This year's winning Antepavilion structure will be built on a plot in Southwark, rather than at its original warehouse site in Hoxton Docks where previous years' structures were installed.

The change of location comes after the council restricted the use of the warehouse, requiring Shiva – the organiser and sponsor of the arts charity Antepavilion – to obtain planning permission for any new structures to be built on the site.

However, the organisers said this made it impossible for Hoxton Docks to continue as the host of the Antepavilion, leading it to change locations.

New site selected for its history of art displays

Antepavilion has stated that the new site, south-east of the Old Kent Road Flyover in Southwark, is "feted for its history of art displays", including the Mandela Way T-34 Tank, otherwise known as Stompie.

The architecture contest was launched in 2017 as an annual competition for temporary structures that challenge planning constraints. It was postponed indefinitely in 2022 due to ongoing disputes with Hackney Council that began in 2019.

In 2019, the council issued an enforcement notice to Shiva demanding the removal of four unauthorised Antepavilion structures. A second notice was issued in 2020 to prevent the building from being used as an art venue and demanded the removal of all artwork from the site.

In addition to this, a "sinister" police raid on the Hoxton Docks building in June 2021 saw the arrest of several Antepavilion staff. In 2022, this was ruled unlawful by the High Court.

Hackney Council planning inspector Luke Perkins later quashed the second of the enforcement notices and granted retrospective planning permission for the site's change of use.

However, he simultaneously reinstated the initial enforcement. In an amended form, he said he had "no power to direct that future art installations displayed externally do not require permission in their own right".

This year's winners to be revealed in April

Now returning for its sixth year, Antepavilion has issued a brief for 2024 called Earthwork, which it has said is open to interpretation.

Among the few requirements are an expectation "to engage with the (uncertain) archaeology of the site" and design for re-use, Antepavilion said. The budget for the project is £25,000, which includes the prize fund as well as construction costs.

The closing date for entries is 15 March and winners will be revealed on 5 April.

The last competition, held in 2021, was won by The Antechamber by Studio Nima Sardar – a collapsible camera obscure – and followed a bamboo tensegrity structure by Project Bunny Rabbit, which was built as a "special early summer commission".

Previous winning structures have included the duct-shaped HVAC pavilion, the inflatable AirDraft barge and a series of fibreglass sharks.

Architecture Foundation was the original partner for the Antepavilion competition, but it pulled out in January 2021 following the aforementioned legal wrangles.

The photography is by Jim Stephenson.

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US company Madison Square Garden Entertainment has withdrawn its proposal for the Populous-designed MSG Sphere London, slamming the planning process as "a political football between rival parties".

In a letter to the Planning Inspectorate, Madison Square Garden Entertainment (MSG) said it could no longer participate in developing the music venue for a site in Stratford near the Olympic Park in east London.

"I write to confirm that we are officially withdrawing our application from the Planning Inspectorate process," the letter read, reported the BBC.

"After spending millions of pounds acquiring our site in Stratford and collaboratively engaging in a five-year planning process with numerous governmental bodies, including the local planning authority who approved our plans following careful review, we cannot continue to participate in a process that is merely a political football between rival parties."

In a statement shared with Dezeen, MSG's sister company Sphere Entertainment confirmed it would "not be participating in the call-in process".

"We have informed Mr Gove that our decision not to move forward with our plans for Sphere in London stands, and we will not be participating in the call-in process," the media company said.

Its withdrawal follows London mayor Sadiq Khan's rejection of the proposal in October over fears that the illuminated sphere would cause "unacceptable harm to hundreds of residents".

This was in light of a report by engineering firm WSP, commissioned by the Greater London Authority (GLA), which "identified significant errors and omissions" in the plans for the venue.

In response, the UK's levelling up secretary Michael Gove instructed the London Legacy Development Corporation – the planning authority for the Olympic Park and its vicinity – in November of last year not to deny planning permission until he has reviewed the application.

MSG turning focus to "forward-thinking cities"

However, Sphere Entertainment told Dezeen it was pessimistic about the outcome and accused the mayor of "hijacking" the planning process.

"The entire five-year planning process was hijacked by the mayor and his bogus last-minute report," said Sphere Entertainment's spokesperson at the time.

The company has since told Dezeen it will now turn its focus to "forward-thinking cities around the world".

"We would like to thank all of those who worked earnestly to bring this project to London," said Sphere Entertainment.

"We are committed to continuing to work collaboratively with forward-thinking cities around the world who are serious about bringing this next-generation entertainment experience to their communities."

The MSG Sphere London was first proposed for a site near the Olympic Park in Stratford in 2018. If built, it would have been 120 metres wide and 90 metres tall, with its exterior covered in illuminated screens.

Hanam could host next MSG Sphere

It would have been the second MSG Sphere to be built, following the MSG Sphere Las Vegas that opened last year with artworks by Es Devlin and John Gerrard. Both venues have been designed by the international studio Populous.

Plans for the MSG Sphere London have been controversial since its inception. In 2022, it won planning permission after the London Legacy Development Corporation's planning committee voted six to four in favour of the proposal, despite 852 objections submitted in opposition to the project. In total, 355 responses were received supporting the proposal.

MSG is now reportedly planning to build a 120-metre-high spherical music venue that would host performances by K-pop artists in Hanam, South Korea.

According to the newspaper The Korea Economic Daily, the city is planning to open a 900,000 square-metre K-Star World that could include the spherical music venue.

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Architecture studio MAD has revealed its design for an arts centre on a waterfront site in Guangdong, China, which will have an undulating form modelled on moving water.

Encompassing 121,275 square metres, the mixed-use Nanhai Art Center will be divided into three buildings containing a theatre, museum and sports centre.

It has been designed by MAD as both a "public gateway" to the waterfront and a cultural venue for citizens of Foshan and Guangzhou.

According to MAD, this ambition draws on the traditions of the Chinese province Guangdong, which are centred on social gatherings.

"The local culture of southern Guangdong is always about the gathering of people," said MAD founder Ma Yansong.

"To keep the same lifestyle, it has to be contributed by the contemporary cultural venues. The design of the Nanhai Art Center wants to provide the maximum grey spaces for such activities."

The site for the project is in Nanhai Cultural District, which MAD described as "an important urban site that bridges the cities of Guangzhou and Foshan".

Once complete, it is intended to resemble moving water, with large roof eaves modelled on the traditional architecture of Lingnan, the region in which Guangdong is located.

The undulating roofscape will be crafted of white ethylene tetrafluoroethylene (ETFE) – a type of plastic with a translucent finish.

In the visuals, it is suggested that this roofscape will be supported by sweeping tree-like columns constructed from timber.

"The Nanhai Art Center resembles a continuous wave of water, with three main buildings looming underneath the floating sun canopy," said MAD.

These venues will be linked together by outdoor patios and viewing platforms, which will overlook the waterfront and a park.

The plan for Nanhai Art Center is arranged around a central axis. The museum and theatre will be arranged on one side of this spine, measuring 89,269 square metres.

Inside, the theatre – named the Grand Theater – will contain a 1,500-seat amphitheatre alongside a 600-seat multi-purpose hall.

On the opposite side of the axis will be the sports centre, which will measure approximately 32,006 square metres.

This will comprise various sports facilities including swimming pools and courts for basketball and badminton.

According to MAD, the proposal for Nanhai Art Center also features commercial spaces that will be positioned along the waterfront.

Other details in the plan include the incorporation of photovoltaic panels, rainwater collection facilities and vertical planting systems.

MAD is an architecture studio founded by Ma in Beijing in 2004. It is scheduled to begin construction of the Nanhai Arts Center in 2024 with completion slated for 2029.

Other recent proposals by MAD in China include a six-venue arts and cultural centre and the China Philharmonic Concert Hall, which is slated for completion later this year.

The visuals are courtesy of MAD. 

Project credits:

Architect: MAD
Principal partners in charge: Ma Yansong, Dang Qun, Yosuke Hayano
Associate partners in charge: Kin Li, Liu Huiying
Design team: Li Cunhao, Zhang Ying, Yoshio Fukumori, Rozita Kashirtseva, Hao Ming, Orion Campos, Zhang Lipei, Gao Chang, Zeng Tianxing, Li Yuchen, Ma Ran, Hemant Jindal, Jiang Yunyao, Zhou Rui, Ma Yiran, Zhang Tong, Peng Wanjing
Client: Foshan Nanhai Youwei Baiyue Culture Co.
Contractor: Foshan Nanhai Liyayuan Real Estate Development Limited Company
Executive architect: Tongji Architectural Design (Group) Co.
Landscape consultant: Earthasia (Shanghai) Co.
Lighting consultant: Ning Field Lighting Design Corp.
Stagecraft consultant: China Institute of Arts Science & Technology

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Architects from studios including Counterspace and OMA are among those expecting less extravagant and more community-centric designs to dominate the global architecture scene in 2024.

Dezeen spoke to architects from leading and emerging studios around the world to get their predictions for the trends that could define the industry this year.

For most, world affairs are expected to have the biggest impact on architecture in 2024 and beyond, as countries begin "looking inward" and become more protectionist.

"The era of abundance seems to be coming to an end"

"The honeymoon period of globalisation is over," said MVRDV Asia studio director Wenchian Shi.

"Each country and each continent is looking more inward and trying to be more defensive," she told Dezeen.

OMA's managing partner David Gianotten agreed, suggesting that "the era of abundance seems to be coming to an end".

"We are facing a shortage of resources," he said.

Gianotten added that the Covid-19 pandemic and, more recently, two major wars, have "caused a sense of insecurity among many of us".

This will lead to "new design approaches" that prioritise local communities and the creation of safe spaces, he said.

"People worry about their communities, and they want to know how they can be in positions to help," Gianotten explained.

"I think the built-environment industry will focus more on creating safe places where different agents in the community can have an increased sense of belonging, and act for the common good."

This echoes the hopes of Counterspace founder Sumayya Vally for 2024, which are to give voices to local communities that may have previously been overlooked.

"I would love to see architecture made in the image of diverse experiences and perspectives, architecture that listens deeply to its contexts," said Vally, who was named emerging architect of the year at Dezeen Awards 2023.

World affairs will cause "less experimentation"

Meanwhile, Snøhetta co-founder Kjetil Trædal Thorsen believes that current world events will lead to more restrained architecture in 2024 and beyond.

"Right now, there should be no doubt that the ongoing conflicts, polarisation, and social inequality will continue to destabilise societies around the globe," he said.

"This is already influencing the economy, politics and thus also our clients, going for safer choices, known solutions and less experimentation."

MVRDV partner Stefan de Koning echoed this sentiment.

"Given the continuing crises in the economy, the environment, and everything else, I expect to see a decline in the luxury sector," he said.

"This includes even places like the UAE, which has previously been very luxury-oriented, but where we are starting to see more interest in the idea of a less ostentatious style of architecture."

However, Heatherwick Studio partner Mat Cash said the full effects of current world affairs will only be known later in 2024 when the world faces what The Economist has called the biggest election year in history.

"Over four billion people – more than half the global population – will be urged to vote," said Cash. "Each of these moments will help define a movement either towards greater polarisation and isolationism or towards more global co-operation," he explained.

These elections could have "far-reaching impacts" on architecture, he said, as they will determine the world's responses to the challenges it currently faces.

"We will focus our creativity on making the most of what we have"

Another trend expected to dominate in 2024 is a greater focus on sustainability.

"We might finally once again see the creation of our physical surroundings as a positive contribution to humanity rather than being a burden," said Thorsen.

This was also a trend prediction for architects in 2023. However, architects told Dezeen measures will become more targeted and, therefore, more effective this year.

"As more and more people feel the urgency of the issue, I think we will become more focused on managing specific risks that climate change brings to the built environment, rather than generic design approaches for environmental wellbeing," said Gianotten.

Co-founder of Dutch studio Overtreders W Hester van Dijk expects an increase in architects prioritising biobased materials – those made from biodegradable living matter.

"The Dutch government, for example, has just reserved €200 million to upgrade the percentage of biobased materials, by weight, in new buildings in the Netherlands from three per cent to 30 per cent," she explained.

"The money is intended for farmers and builders to work together to put biobased building materials on the market."

Meanwhile, Stuart Latham at Foster + Partners said more accurate carbon calculations for projects will emerge.

"With carbon calculations becoming more sophisticated, there will now be more certainty about predictions for the performance of buildings. Approximations will increasingly be left behind," he explained.

Latham is also confident retrofit will become a top priority.

"Foster + Partners believe the idea of retrofit and the revitalisation and reinterpretation of existing buildings will continue to gain strength as awareness about embodied carbon grows throughout the industry," he said.

Alexandra Hagen, CEO of Dezeen Awards 2023 architecture studio of the year White Arkitekter, agreed.

"We will focus our creativity on making the most of what we have already built," she said.

"As architects, we will use design as a tool to reinvent and revitalise the existing building stock in creative ways. It will have an impact from interior design to masterplanning."

Public engagement will become key

Heatherwick Studio partner Cash said the dedication to retrofit will also be visible in the way architects design new buildings in 2024, with a rise in studios designing for longevity.

"I think the conversations around sustainability will slowly shift from being purely concerned with a building's life cycle to its actual life expectancy," he said.

He said this will see a shift from "fast architecture" – buildings designed with a lifespan of 20 to 30 years – and more engagement with the public.

"We must have an aspirational mindset that looks to build for 1,000 years," Cash argued.

"[The public] are the judges of a building’s longevity and ultimately their success," he added. "2024 will be much more about how the public actively engages in this conversation and their voices will begin to be heard."

This will also be catered for through the design of more mixed-use buildings, a typology that Zaha Hadid Architects associate director Melodie Leung expects more of in 2024.

"There is no longer an assumption that buildings will always be inhabited in the same way," she explained.

"Clients and design teams are incorporating a more nuanced understanding of how the spaces in which people live, work and socialise may be shared and used differently across various times of day and how they can be adapted in future decades."

Direction of AI in architecture disputed

However, architects disagreed about the direction that technologies such as AI will take in 2024, after the topic attracted significant hype in 2023.

For Hagen and Leung, continuing to upskill in this area will become increasingly important.

"Continuous upskilling in design, sustainability and tech is crucial in 2024," said Hagen. "Shortly, I believe we will be aided by new AI tools to analyse and design our projects."

Leung said the fields of architecture and engineering will become "inseparable from the digital realm" in 2024.

"Advances in AI augment the ability of design teams to integrate complex layers of information and analysis in the design process with the goal of achieving more sustainable and longer-lasting buildings," she explained.

Yet, at the other end of the spectrum, MAD founder Ma Yansong said architecture will shift away from technology next year.

"While engineering and technology quickly develop, architecture can respond and sync with human emotion," Ma explained.

"Architecture is not a product or the pure outcome of technology, but also rooted deeply with art, culture and civilization," he continued. "We will leave behind pure digital architecture that has no expression or no soul."

Meanwhile, Counterspace's founder suggested the integration of AI with architecture is unavoidable, and encouraged architects to turn their focus to what they can control.

"Architects have been working with AI for a number of years," Vally said.

"I think the question is not whether we will or won’t be affected by the shifts we know are coming, but how we can build platforms that amplify voices from multiple contexts, include different bodies of knowledge; and build models that are resonant with different perspectives."

Specifically, Vally hopes more architects will look beyond mainstream trends in 2024 and pay more attention to the contexts in which they are designing.

"Rather than look to trends, we should really study our past and present conditions to uncover the stories and histories that lie waiting in place," she concluded.

Thorsen agreed, asking: "Maybe trends are a bit out altogether?"

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From the conversion of a Norwegian silo to a green-roofed Japanese villa, we've rounded up some of the most interesting architecture projects that are scheduled for completion in 2024.

Not A Hotel Ishigaki, Japan, by Sou Fujimoto

Upcoming architecture projects in Japan include Not A Hotel Ishigaki, a disc-shaped villa with a swooping walkable roof that will incorporate a meadow, tree and pond.

Designed by Sou Fujimoto for Ishigaki Island, the rentable home will be designed without a front or back and prioritise outward views to ensure occupants feel "the comfort of nature all day long".

Find out more about Not A Hotel ›

National Assembly of Benin, Benin, by Kéré Architecture

Kéré Architecture is due to complete the National Assembly of Benin in West Africa in 2024. The government building is being designed for Porto-Novo and will have a top-heavy form modelled on palaver trees, a species used by generations of West African communities as places to host public gatherings and make communal decisions.

"This project gives shape to our ideas about community gathering, the importance of indigenous forms of governance and what contemporary African architecture can be on a national scale," said the studio's founder Diébédo Francis Kéré.

Find out more about National Assembly of Benin ›

Kunstsilo, Norway, by MX_SI and Mestres Wåge Arquitectes

After much anticipation, the Kunstsilo art museum and cultural centre will open in Norway within a converted 1930s grain silo. It was originally expected to be completed in 2020.

The design was the winning entry of an international competition in 2016, chosen for the way it respected the historical structure. Just a few openings will be made in its interior to house the circulation areas, while an adjoining warehouse will house the exhibition space for modern art.

Find out more about Kunstsilo ›

Simone-Veil Bridge, France, by OMA

Another late arrival in 2024 is the Simone-Veil Bridge, which OMA has designed to accommodate cars, bikes and pedestrians in Bordeaux while doubling as an events space.

The studio said the project aims to "rethink the civic function and symbolism of a twenty-first-century bridge". OMA first unveiled its design in 2013, originally targeting a 2018 opening date.

Find out more about Simone-Veil Bridge ›

Jinghe New City Culture and Art Centre, China, by Zaha Hadid Architects

One of Zaha Hadid Architects' most exciting upcoming projects is an art centre that will meander over an eight-lane motorway in Xi'an.

Named Jinghe New City Culture & Art Centre, it will comprise cultural and recreational facilities interspersed with courtyards and outdoor areas.

According to the studio, it will be intended to emulate the "valleys carved by the Jinghe River through the mountains and landscapes of Shaanxi province".

Find out more about Jinghe New City Culture and Art Centre ›

Kaktus Towers, Denmark, by BIG

Over six years since BIG first unveiled the design, the spikey-looking Kaktus Towers will reach completion in Copenhagen's Vesterbro district this year.

Their distinctive look will be achieved through the rotation of floorplates, with their corners opened up as planted balconies. They won't be far from BIG's new headquarters, which it will also complete this year in the capital's Nordhavn port district.

Find out more about Kaktus Towers ›

Transamerica Pyramid, USA, by Foster + Partners

In the USA, the overhaul of the iconic Transamerica Pyramid will be completed by Foster + Partners. The landmark building, which was built in 1972, was the tallest in San Francisco for almost 50 years until the Salesforce Tower was built.

The substantial renovation of the modernist skyscraper will see its interior and exterior brought up to modern-day standards, while the adjoining Redwood Park is also reinvigorated.

Find out more about Transamerica Pyramid ›

China Philharmonic Concert Hall, China, by MAD

This year will see MAD's China Philharmonic Concert Hall complete in Beijing, which will become the first permanent residence for the country's philharmonic orchestra.

MAD released construction photos in 2023 that revealed its undulating silver facade, which it designed to be "reminiscent of a piece of jade".

Find out more about China Philharmonic Concert Hall ›

Juneau Avenue, USA, by Heatherwick Studio

One of the most unusual projects on the list is Juneau Avenue, a public park with a "motorcycle amphitheatre" that Heatherwick Studio is creating on an old parking lot.

It will offer outside space for employees at the adjacent Harley-Davidson headquarters, while also providing the company with a venue for public events such as motorcycle rallies.

Find out more about Juneau Avenue ›

Rubicon, UK, by Alison Brooks

This housing project is set to be completed in Cambridge by RIBA House of the Year-winning studio Alison Brooks Architects.

Named Rubicon, it will comprise homes modelled on old lofts, warehouses and mills, which the studio said are seen "as ideal structures for contemporary lifestyles" today.

There will be 186 units spread across five buildings, each finished with pastel-hued glazed bricks and an abundance of bike storage to align with the city's reputation as the UK's cycling capital.

Pathé Palace, France, by Renzo Piano Building Workshop

Another project on the list that involves an existing building is Pathé Palace, a seven-screen cinema complex that Renzo Piano's studio is crafting from an art deco structure in the heart of Paris.

The project will involve the revival of its 1929 rotunda, the creation of a head office for cinema company Pathé and the introduction of a statement atrium at its centre.

Nearby, Notre-Dame Cathedral will also reopen following the devastating fire in 2019, after French president Emmanuel Macron set an ambitious target for its restoration to finish in time for the Paris 2024 Olympic Games.

Čoarvemátta, Norway, by Snøhetta

Snøhetta fans will be excited to hear that the studio has several projects opening in 2024, but one of its most interesting is Čoarvemátta.

Čoarvemátta is a rural facility that will be shared by the Sámi National Theater Beaivváš and Sámi High School and Reindeer Husbandry School – two key institutions in Norway's traditional Sápmi region that is traditionally inhabited by the Sámi people.

Its curving wooden form, which is being modelled on a reindeer horn, will contain spaces dedicated to traditional Sámi handicrafts and reindeer herding culture.

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Italian studio Stefano Boeri Architetti has unveiled its masterplan for a meditation centre and landscaped gardens at the Ramagrama stupa, a Buddhist pilgrimage site in Nepal.

The masterplan will aim to enhance the visitor experience and ensure the longevity of the site, which centres around a stupa, or burial mound, containing relics of the Buddha.

While providing new prayer facilities, Stefano Boeri Architetti's design focuses on the introduction of two giant gardens around the stupa and its centuries-old bodhi tree.

These will be named the Peace Meadow and the Biodiversity Ring Garden.

"This project represents an extraordinary challenge for us: that of creating a meaningful centre for prayer, meditation and peace in one of the most sacred sites of Buddhism," said the studio's founder Stefano Boeri.

"Due to its truly universal value and collaborative nature across cultures and nations, this project will become one of the most significant ongoing cultural heritage projects in Nepal."

The site is located in Ramagrama, a municipality on the banks of the Jharahi River in western Nepal. Dating back to the sixth century BC, the stupa takes the form of a green mound topped by the bodhi tree.

Stefano Boeri Architetti said its design references the work of Japanese architect Kenzo Tange and will prioritise the use of local materials.

The masterplan is intended to introduce a staggered approach to the sacred site, "providing a succession of spaces that emphasise the symbolic significance of Ramagrama stupa".

There will be four access points, directing visitors to the four routes up to the central hill.

At the heart of the masterplan is the Peace Meadow, a large open lawn that will be landscaped to resemble a mandala – a spiritual symbol of the universe formed of geometric patterns.

This space is intended to be used for contemplation and will measure 600 metres in diameter, surrounded by facilities including meditation and prayer areas.

Above the circle of meditation and prayer areas will be the Biodiversity Ring Garden – a sloped garden comprising 80,000 plants.

There will be 70 different species of plants, selected to be native species to the Terai plain, the birthplace of Buddha. It will also incorporate shaded pathways overlooking Ramagrama stupa.

Stefano Boeri Architetti is the eponymous studio of Boeri, which he founded in 2011. Today its main office is in Milan, but it also has offices in Shanghai and Tirana.

Other recent projects by the studio include a proposal for one of its Vertical Forest skyscrapers in Dubai and a masterplan for the Smart Forest City that will be covered in 7.5 million plants for Mexico.

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Swiss studio Herzog & de Meuron has unveiled its design for the cubic Seoripul Open Art Storage building, which will become an archive for three museums in Seoul, South Korea.

Set to be built on the eastern edge of Seoripul Park, the giant cube will house the collections of Seoul Museum of Art, Seoul Museum of Craft Art and Seoul Museum of History.

Landscaped gardens that tie into the park also form a key part of the design, aiming to establish the building as a "dynamic civic space" in Seoul, Herzog & de Meuron said.

Once complete, Seoripul Open Art Storage will be defined by its distinctive cubic form that is enclosed by translucent glass panels and positioned on top of a series of stone blocks.

"Beyond its role as a storage facility, it aspires to be a dynamic civic space for Seoul residents and global visitors," said Herzog & de Meuron.

"Characterised by a pyramidal glass structure atop mineral blocks and surrounded by a carefully delineated garden, the building becomes a prominent landmark visible from Seocho Road, capturing the attention of passersby," continued the studio.

The bulk of Seoripul Open Art Storage will contain archival facilities, enveloping levels one to four of the building. The collections will be arranged depending on their required storage conditions, catered for through the design of different "climatic zones".

This glass-clad volume will be broken up by narrow openings and cutouts. On the east side, it will overhang the stone bases to form a sheltered entrance area.

To maximise storage space, circulation and technical spaces are designed on the south side of the plan.

"Concentrating vertical circulation for visitors, art handling, and technical systems on the south side of the building in a functional spine allows the rest of the floorplate to remain open and flexible," said the studio.

A focal point of the interior will be a glazed, conical atrium, extending up from the ground floor to the sixth and wrapped by display cases to offer visitors glimpses of the archive.

Above the archive areas, the fifth floor of the building will contain both administrative zones and a public restaurant, illuminated by a continuous band of glazing.

The restaurant will have views into the floor above, which will be dedicated to art conservation – an activity usually "concealed behind closed doors in conventional archive buildings".

These conservation spaces crown the building. Here, more private areas will line the perimeter while an open workspace will surround the central atrium.

Seoripul Open Art Storage's blocky base volumes will contain circulation and facilities including a cafe, shop, library and auditorium. They will each be formed using rock excavated from the site and finished with large areas of glazing.

"The masterplan requires significant intervention in the existing topography through excavation," said Herzog & de Meuron.

"The new building areas, specifically the four pedestal blocks below the current topography, are conceived as mineral volumes, aiming to maximize gneiss rock reuse from the excavation," the studio continued.

Completing Seoripul Open Art Storage will be two underground levels housing exhibition spaces and parking, as well as the surrounding gardens.

The gardens will be landscaped using traditional Korean gardens as a reference and open to visitors to both the building and Seoripul Park. These will be linked by a path.

"This strategic placement positions the Seoripul Open Art Storage not merely as a repository for cultural and historical artefacts but also as a harmonious integration of nature, culture, and urban life," said Herzog & de Meuron.

According to Herzog & de Meuron, it is targeting carbon neutrality in terms of both operational and embodied carbon emissions, within the building's 50-year lifespan.

It said this will be achieved through measures including the use of concrete with a "high recycled content", passive ventilation strategies, a geothermal heat pump and photovoltaic panels.

"Considering the building’s 50-year lifespan, the emissions avoided by the integrated photovoltaic system on the roof and facade exceed the emissions produced during the building’s construction and operation," it said. "This achievement results in achieving carbon neutrality."

Seoripul Open Art Storage is expected to begin construction in 2025 and reach completion in 2028.

Established in Basel in 1978, Herzog & de Meuron is a RIBA Royal Gold Medal and Pritzker Architecture Prize-winning studio led by Jacques Herzog and Pierre de Meuron.

Its other recent proposals include an extension of London's Liverpool Street station and Calder Gardens in Philadelphia, which will house works by American sculptor Alexander Calder.

The images are courtesy of Herzog & de Meuron.

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Four angular wings with steel canopies form Zhuhai Jinwan Civic Art Centre, which British studio Zaha Hadid Architects has completed on an artificial lake in China.

Located within the ZhongXin Lake in Zhuhai, the centre is characterised by its sweeping roofscape, which Zaha Hadid Architects modelled on the chevron-shaped flight formations of migratory birds in southern China.

Inside, Zhuhai Jinwan Civic Art Centre contains three distinct cultural venues – a science centre, an art museum and a performing arts centre.

The performing arts centre comprises the 1,200-seat venue Grand Theatre and the multifunctional Black Box that has 500 retractable seats.

"Integrating three distinct cultural institutions for the city, each venue within the Zhuhai Jinwan Civic Arts Centre incorporates unique characteristics that create differing visitor experiences, yet all are united by a coherent formal and structural logic," said Zaha Hadid Architects.

"Echoing the chevron patterns of migratory birds flying in formation over southern China, the latticed steel canopies sheltering each venue are configured through repetition, symmetry and scale variation."

Zhuhai Jinwan Civic Art Centre has been designed as the heart of Aviation New City, a neighbourhood of the Jinwan district that houses 100,000 residents. It links to the Zhuhai Airport Intercity railway and is accessible from Shenzhen and Hong Kong in less than an hour.

The building is raised on a podium, which sits within the artificial lake and is connected to its surroundings by pedestrian ramps and tunnels.

Zaha Hadid Architects divided the venues across four wings – two large and two small – which flank a central plaza. Together, they span 170 metres by 270 metres.

Doubling as a shared external foyer for all four venues, the plaza is connected to footbridges and tunnels that extend across the lake to its banks for easy access.

Each venue is crowned by a steel canopy, which is formed of prefabricated panels made from steel. Collectively, they are supported by just 22 columns.

The venues also all feature glazed walls on their plaza-facing elevations, allowing "visitors to determine the individuality and character of each venue", Zaha Hadid Architects said.

Inside, both the Grand Theatre and art museum are complete with a light material palette, while the Black Box and Science Centre have darker finishes.

The art gallery comprises exhibition spaces, alongside storage and administrative areas and a sculptural circulation space described by Zaha Hadid Architects as "a continuous white ribbon".

In the science centre, Zaha Hadid Architects has placed a lecture hall alongside several interactive exhibition areas.

The chevron design of the roofscape is used as a motif throughout the interior, such as in the Grand Theatre's sound-reflecting ceiling panels.

Zhuhai Jinwan Civic Art Centre also has several interactive outdoor areas, including an amphitheatre on the west side for outdoor performances. Meanwhile, bridges and voids animate the multi-level plaza.

The artificial lake itself was designed by Zaha Hadid Architects in line with Zhuhai’s "sponge city" goals – meaning it will help mitigate flooding, water pollution and water scarcity by storing excess water.

The lake will also incorporate aquatic flora and fauna that will naturally filter contaminants. Sponge cities are being developed in urban areas throughout China.

Finishing touches to the building include a waste-heat recovery system that will be used for the centre's hot water supply, as well as a water recycling system.

Zaha Hadid Architects is the studio of the late British-Iraqi architect Zaha Hadid, which she founded in 1979. Today it is led by Patrik Schumacher.

Elsewhere in China, the studio already recently completed the Jiangxi River Bridge and it is developing a 210-metre-tall skyscraper with a curved form and planted terraces.

The video is by Kevin Zhen and the photography is by Virgile Simon Bertrand unless stated otherwise.

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A quartet of twisting office towers that are joined at the base will form the global headquarters of tech company Tencent, which architecture studio Büro Ole Scheeren is creating in Shenzhen.

Named Tencent Helix, the building will contain workspace for 23,000 employees of the Chinese company, which is best known for developing the multifaceted WeChat app.

It is being designed by Büro Ole Scheeren as part of an upcoming financial district in Qianhai Bay that the studio said "is comparable in size and shape to Midtown Manhattan".

Tencent Helix is intended to become a landmark for the neighbourhood, with its sculptural form enveloping a 14-hectare site.

"Encompassing a 14-hectare site in the prominent Qianhai Bay, Büro Ole Scheeren's Tencent Helix emerges as an iconic centrepiece at the heart of the future technology and financial district," said the studio.

"Designed to stand as both a cohesive, singular whole and a collection of distinct elements, Tencent Helix will be the global centre of the company's expanding ecosystem."

Büro Ole Scheeren's design was the winning entry of an international competition for which Tencent set an "ambitious brief".

Its design was chosen ahead of entries by architecture studios including Herzog & de Meuron, Heatherwick Studio, BIG, Snøhetta, OMA, Kengo Kuma, Zaha Hadid Architects and Foster + Partners.

The complex will comprise four towers of differing heights, arranged around landscaped terraces and flanked by five teardrop-shaped wings. The tallest tower will measure 153 metres, surpassing the height to be considered as a skyscraper by three metres.

At 500,000 square metres, the studio said it is expected to be almost twice as big as Apple Park, the Apple headquarters that Foster + Partners has created in California.

While intended to be both distinctive and iconic, Büro Ole Scheeren said its design aims to symbolise "the company's meteoric growth".

"Tencent Helix is a symbol of the synergies between technology, innovation and growth in a human-centric design," said its founder Ole Scheeren.

"Its well-structured social ecosystem is a testament to the evolving nature of global headquarters into a complex and interactive ensemble where functionality, sustainability and community come together."

Tencent Helix's facade will be clad in modular glass panels, designed to create visual interest while maximising natural daylight and views out over the city.

The landscaped areas between the towers, named Vortex Garden, are hoped to provide employees with ample green space for relaxing and recreation.

Inside, Tencent Helix will centre around the Vortex Incubator, a space with large and flexible floors that will form the heart of the complex and connect all four of the office towers.

It will include further recreational spaces and a health club, as well as a conference centre and offices, where staff from different sectors can collaborate.

Other facilities in the complex will include offices with customisable floors, a grand lobby and a publicly accessible base called the Urban Forum.

This will house restaurants and retail spaces and was designed to help tie the building into the existing urban context.

Founded by Scheeren in 2010, Büro Ole Scheeren is an international architectural studio with offices in Hong Kong, Beijing, London, Berlin and Bangkok.

Elsewhere in China, the studio is currently developing an octagonal supertall skyscraper in Nanjing and a hotel made up of stacked horizontal blocks in Sanya.

The visuals are courtesy of Büro Ole Scheeren.

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London mayor Sadiq Khan has been slammed by media company Sphere Entertainment over his rejection of its plans for the MSG Sphere London in Stratford.

A spokesperson from Sphere Entertainment told Dezeen that "the entire five-year planning process was hijacked by the mayor" after he refused the application for it last month.

Khan's decision followed a report by engineering firm WSP, commissioned by the Greater London Authority (GLA), which "identified significant errors and omissions" in the proposal.

"The entire five-year planning process was hijacked by the mayor and his bogus last-minute report," said Sphere Entertainment's spokesperson.

"Londoners should be dismayed that they are not going to benefit from this groundbreaking project, and others looking to invest in London should certainly be wary," the spokesperson continued.

"Moreso, everyone should be alarmed by how easily the government's established process was tossed aside by one politically motivated official."

Sphere Entertainment turns focus to "forward-thinking cities"

The MSG Sphere London has been proposed for a site near the Olympic Park in Stratford and, if built, it would be 120 metres wide and 90 metres tall. Its entire exterior would also be covered in illuminated screens.

It would be the second MSG Sphere to be built and follow the MSG Sphere Las Vegas, which recently opened with artworks by the likes of Es Devlin and John Gerrard.

Both venues have been designed by the international studio Populous for Sphere Entertainment, which forms part of the company that runs New York's Madison Square Garden (MSG).

Since Khan rejected the proposal last month, the department of the UK's levelling up secretary Michael Gove has written a letter instructing the London Legacy Development Corporation not to deny planning permission until he has reviewed the application.

Gove is believed to be considering calling in the planning application and has the right to overrule the decision made by Khan if he considers the proposal to be appropriate.

However, Sphere Entertainment's spokesperson said it is pessimistic about the outcome of this and that it is turning its focus to bringing the venue to other cities.

"Mr Gove's action, although commendable, still appears to us to be more of the same, and we cannot continue to participate in a process that can be so easily undermined by political winds," the spokesperson said.

"As we said previously, we will focus on the many forward-thinking cities."

Proposal would have "unacceptable negative impact" on locals

In response, the mayor's office has reissued a statement to Dezeen from its spokesperson saying the proposal would "result in an unacceptable negative impact on local residents".

"London is open to investment from around the world and Sadiq wants to see more world-class, ambitious, innovative entertainment venues in our city," said the statement.

"As part of looking at the planning application for the MSG Sphere, the Mayor has seen independent evidence that shows the current proposals would result in an unacceptable negative impact on local residents."

Plans for the MSG Sphere London were first revealed in 2018. It has been controversial since its inception, receiving 852 objections and just 355 responses in support when it was first proposed.

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The polycarbonate-lined Green House that architecture studio Hayhurst & Co slotted into a tight site in London has been named the RIBA's House of the Year for 2023.

Replacing an existing home in an alleyway in Tottenham, the plant and light-filled residence is modelled on a riad – a type of traditional Moroccan house built around a central courtyard.

It was hailed by the jury of this year's RIBA House of the Year prize as "a true oasis within the city".

"Green House, affectionately known as the 'Tottenham Riad', is a true oasis within the city," said jury chair Dido Milne, who is also director of Eton studio CSK Architects.

"It is both airy and cosy, bold yet respectful of its neighbours. Your eye is simultaneously drawn upwards to open sky and down and out across the living room to verdant greenery," she continued.

The House of the Year prize is awarded annually by the Royal Institute of British Architects (RIBA) to the best one-off, architect-designed house in the UK.

Milne added that Green House was also chosen as the 2023 winner for the clients' and studio's joint ambition to "deliver a truly sustainable home", which "is evident in all of the design decisions and detailing" despite a tight budget.

"Nowhere do you feel the site or budget was restricted," she explained. "It feels both luxurious, homely, deeply private and relaxing. It's an extraordinary ordinary house and a remarkable collaboration."

Designed for a growing family, Green House comprises five bedrooms arranged around a skylit atrium. With views of gardens and a roof terrace, it is designed to maximise their connection to the outside and access to nature.

Standout details include the sliding polycarbonate screens across the exterior, which enable the family to adjust both the levels of privacy and ventilation.

Its material palette includes exposed cross-laminated timber (CLT) walls, reclaimed concrete blocks and recycled cork rubber flooring, while air-source heat pumps and solar panels are used for energy.

Green House came out top in a longlist of 20, whittled down to a shortlist of six that included Cowshed by David Kohn Architects – the studio that won last year's RIBA House of the Year.

Hundred Acre Wood by Denizen Works, Made of Sand by Studio Weave, Middle Avenue by Rural Office and Saltmarsh House by Niall McLaughlin Architects were also shortlisted.

This year's jury was made up of Milne alongside the co-founder of the architecture studio Coppin Dockray Architects, Bev Dockray, the co-founder of the architecture studio Al-Jawad Pike, Jessam Al-Jawad, and the co-founder of design-led estate agent The Modern House, Albert Hill.

"Built on a very tight budget, this generous five-bedroom family home in the Clyde Circus Conservation Area of Tottenham is an inspiring example of what can be achieved with a creative and ambitious approach to design," read their citation.

Previous winners of the RIBA House of the Year award include House on the Hill by Alison Brooks Architects and Caring Wood by architects James Macdonald Wright and Niall Maxwell.

The photography is by Kilian O'Sullivan.

The post "Extraordinary ordinary house" in London named UK's best new home appeared first on Dezeen.

A converted school in Puglia and a mountainside dwelling in Crete are among the top 10 houses to turn Dezeen readers' heads in 2023, but which is your favourite? It's time to vote!

As part of our review of 2023, we have rounded up 10 of Dezeen's most popular houses from the year and are inviting you to vote for your favourite, with the winner set to be revealed on 29 December.

Read on for the top 10, then vote here or by using the form at the bottom of the article.

A Japanese Manga Artist's House, Japan, by Tan Yamanouchi & AWGL

A Japanese Manga Artist's House is arguably the most unusual home to have been featured on Dezeen this year. Animated by a sweeping facade, the residence is intended to give the impression of earth rising from the ground.

Inside, its rooms are arranged with a split-level plan designed to maximise the space and flexibility despite the narrowness of its plot in Tokyo.

Find out more about A Japanese Manga Artist's House ›

Casolare Scarani, Italy, by Studio Andrew Trotter

The only dwelling on the list to incorporate an existing structure is Casolare Scarani, which Studio Andrew Trotter crafted from the bones of an abandoned 19th-century school in Puglia.

It is defined by tactile surfaces, earth-toned furnishings and vaulted ceilings – one of the many original features that the studio preserved in its design.

Find out more about Casolare Scarani ›

House in Quang Yen, Vietnam, by Ra.atelier and Ngo + Pasierbinski

An oversized tiled roof shelters House in Quang Yen, which received more views than any other house published on Dezeen this year.

The Vietnamese home was designed by local studios Ra.atelier and Ngo + Pasierbinski to transform a family's existing garden into a space suitable for large gatherings and sleeping.

Among its stand-out features is a double-height living room that sits directly beside a pond, partly shaded by the overhang of the roof.

Find out more about House in Quang Yen ›

Saltviga House, Norway, by Kolman Boye Architects

Oak offcuts cover the exterior of Saltviga House, a low-lying weekend retreat created by Kolman Boye Architects on the Lillesand seafront.

This distinctive cladding was developed after the studio discovered Danish flooring brand Dinesen had a large volume of leftover wood available for use.

"It's about using what's available, of trying to find beautiful materials without clicking 'order' on a computer," the studio's co-founded Victor Boye told Dezeen.

Find out more about Saltviga House ›

Casa Alférez, Mexico, by Ludwig Godefroy

This sculptural home in Mexico is described by its architect Ludwig Godefroy as "a cube that crashed on the floor among the trees".

It has a monolithic, impenetrable-looking form achieved with the use of concrete, but unusual details such as a projecting walkway, a subtle cantilever and irregularly sized windows help to soften its visual impact.

Find out more about Casa Alférez ›

House in Rua São Francisco de Borja, Portugal, by Bak Gordon Arquitectos

Handmade green tiles line the upper storeys of this home, which Bak Gordon Arquitectos wedged into a row of buildings in Lisbon.

While drawing on details of its neighbours, the tiles are hoped to disguise the concrete used for the structure and help the home blend in.

"Despite some minor variations, most of the buildings keep the Portuguese 'traditional' plastered or tiled facade with openings," said the studio. "The tiles attenuate the concrete presence and act on continuity with the surroundings."

Find out more about House in Rua São Francisco de Borja ›

Devils Glen House, Canada, by StudioAC

StudioAC aimed to disguise this Canadian house as an agricultural building by cladding it in corrugated metal.

It is also distinguished by its steep pointed roof, designed to shed the large amounts of snowfall it experiences in the Bruce Peninsula winter.

Find out more about Devils Glen House ›

Spruce House & Studio, UK, by Ao-ft

Named the urban house of the year at the Dezeen Awards 2023, this residence occupies an infill site in a row of terraced houses in London.

It is crafted from cross-laminated timber (CLT) and covered in timber battens, which architect Ao-ft said aims to simultaneously fit in with the streetscape while adding "interest and delight".

Find out more about Spruce House & Studio ›

Wooden House by the Lake, Germany, by Appels Architekten

CLT was also used to create this German house by Appels Architekten, which is characterised by its boxy forms and a staggered, single-pitched roof.

A cloak of black-stained spruce contrasts with its bright interior, where the wooden structure has been painted white and is illuminated by large windows.

Find out more about Wooden House by the Lake ›

O Lofos, Greece, by Block722

Designing a home that was "discreet and respectful to its surroundings" was the goal for O Lofos, which Block722 completed in Crete this year.

To achieve this, the stone-covered home is divided into blocks that are staggered down its mountainside site and topped with green roofs to help it blend in.

Find out more about O Lofos ›

2023 review

This article is part of Dezeen's roundup of the biggest and best news and projects in architecture, design, interior design and technology from 2023.

The post Vote for your favourite house of 2023! appeared first on Dezeen.

The UK's levelling up secretary Michael Gove is believed to be considering calling in the planning application for the MSG Sphere London in Stratford after mayor Sadiq Khan blocked it earlier this month.

Gove has the right to overrule the decision made by Khan, which was to block the application for the Populous-designed music venue on the edge of the Olympic Park.

The levelling up secretary's department has written to the London Legacy Development Corporation – the planning authority for the Olympic Park and its vicinity – asking that the application is now "referred to him for determination".

Plans blocked over risk of "harm to hundreds of residents"

The planning application for the illuminated sphere had been blocked by Khan earlier this month over fears the venue would cause "unacceptable harm to hundreds of residents", his spokesperson told Dezeen.

Gove's department has written a letter instructing the London Legacy Development Corporation not to deny planning permission until he has reviewed the application.

"The Secretary of State hereby prohibits Your Local Planning Authority from implementing the Mayor's direction of November 20 to refuse permission," the letter states.

"The direction is issued to enable him to consider whether he should direct under section 77 of the Town and Country Planning Act that the application should be referred to him for determination," it continued.

If Gove decides to call in the application, there will be a public inquiry chaired by a planning inspector, or lawyer, who will make a recommendation to the Secretary of State, as per the procedure for calling in planning applications.

The MSG Sphere is proposed for a site near the Olympic Park in Stratford and, if built, it would be 90 metres tall and 120 metres wide.

It would be the second MSG Sphere to be built and follow the MSG Sphere Las Vegas, which was recently unveiled and opened with artworks by Es Devlin and John Gerrard.

Both have been designed by Populous for the organisation that runs New York's Madison Square Garden (MSG).

Khan's rejection followed expert review

The application for the MSG Sphere in London had previously been placed on hold by Gove, who issued an Article 31 holding directive for the project in February.

Khan's decision to block the planning application followed The Greater London Authority's (GLA) commission of a review by global engineering firm WSP.

The review "identified significant errors and omissions in the applicant's assessment" and claimed that the lights from the sphere would have "significant adverse effects" for those living in nearby buildings.

WSP also claimed "significant concerns" about the MSG Sphere's height, massing and bulk, as well as that due to its high energy usage, the building would not be sustainable.

A spokesperson for the MSG Sphere operator Sphere Entertainment told Dezeen at the time that the company was disappointed in the decision.

"While we are disappointed in London's decision, there are many forward-thinking cities that are eager to bring this technology to their communities," the spokesperson said. "We will concentrate on those."

The design has been controversial since its inception. When it was first proposed, it received 852 objections and just 355 responses in support.

The post Michael Gove prohibits planning authority from blocking MSG Sphere in Stratford appeared first on Dezeen.

A remote house by architecture practice Ann Nisbet Studio that is "close to perfection" has been named the winner of the RIAS Andrew Doolan Best Building in Scotland Award for 2023.

Named Cuddymoss, the home in Ayrshire is the first one-off residence to ever win the award since it was founded in 2002 by the Royal Incorporation of Architects in Scotland (RIAS).

Cuddymoss was selected as this year's Andrew Doolan Best Building in Scotland Award winner after leaving the 2023 jury "lost for words".

The home by Ann Nisbet Studio is defined by two low-lying volumes, one of which is clad in timber and another that is formed from the ruin of a stone agricultural building in Ayrshire. There is also a matching gabled outbuilding on site.

"It's a project that the jury felt came as close to perfection for its typology as we've seen," said jury chair Tracy Meller, who is a senior partner at British studio RSHP.

"[It's] an extraordinary exercise in modesty and restraint. It's a beautifully detailed building," she continued. "We were slightly lost for words."

Inside, the renovated ruin contains a double-height living space, kitchen and dining area, with bedrooms at each end, while the adjoining second building houses a separate living room.

Locally sourced Ayrshire brick was used to repair the existing structure, while reclaimed Scottish slate – some of which was sourced on-site – was used for the roofing.

The Andrew Doolan Best Building in Scotland Award is named after Scottish architect Andrew Doolan who passed away in 2004. It is awarded annually to buildings of all typologies and has a cash prize of £10,000.

Cuddymoss was chosen as this year's winner ahead of three other shortlisted projects. These have each been featured in a series of videos produced by Stephenson& and published by Dezeen and RIAS to showcase the shortlist this month.

The other three projects were a university building by architecture studio Page\Park, Laidlaw Music Centre by Flanagan Lawrence and a castle-like house by Denizen Works.

Last year's winner was a small office and cafe that Scottish studio Moxon Architects nestled within the Cairngorms National Park. Other winning projects include ​​The Macallan Distillery and Visitor Experience by Rogers Stirk Harbour + Partners and the Maggie's Cancer Care Centre in Glasgow by OMA.

The photography and videography are by Stephenson&.

The post Cuddymoss by Ann Nisbet Studio named Scotland's best new building appeared first on Dezeen.

Saudi Arabia's capital Riyadh has won the competition to host the 2030 World Expo, becoming the second Middle Eastern city to host the international event after Dubai in 2020.

The Riyadh Expo 2030 won the bid after 119 out of the 182 members of the Paris-based Bureau International des Expositions (BIE), the World Expo supervisor, voted in its favour.

The news was announced yesterday and described by Riyadh Expo 2023 organisers as a "historic achievement" on X, the platform formerly known as Twitter.

Other cities bidding to host the event, which takes place every five years, were Rome in Italy and Busan in South Korea. Ukraine had also put in a bid for Odesa, but this was ruled out due to the Russian invasion.

Event coincides with "crucial year" for Saudi Arabia

The Riyadh Expo 2030 will take place between 1 October 2030 and 31 March 2031 and will be curated under the title The Era of Change: Together for a Foresighted Tomorrow.

Details of the studio that will lead the masterplan are yet to be disclosed, but the event will be divided into three sub-themes called A Different Tomorrow, Climate Action and Prosperity for All.

Saudi Arabia's crown prince Mohammed bin Salman said the event will coincide with "a crucial year for the realization of the goals and plans outlined in Saudi Vision 2030" – a plan to diversify the country's economy and reduce its dependence on oil.

"The Kingdom's selection as the host of the World Expo 2030 underlines its influential and leading role, and the international confidence it enjoys," said the crown prince.

"Saudi Arabia has become an ideal destination for hosting major international events, including the esteemed World Expo," he continued.

"This Expo represents a remarkable opportunity to share with the world the lessons learned from our unprecedented journey of transformation."

Expo latest major event to be held in Saudi Arabia

The Riyadh Expo 2030 will be located a five to ten-minute drive away from King Khalid International Airport, which is being constructed by Foster + Partners. With six runways, it is set to become one of the world's largest airports.

It is the latest major event to be held in Saudi Arabia. Last year, it was revealed that the country would host the 2029 Asian Winter Games at its Trojena resort. Trojena forms will form part of Neom, a new region in Saudi Arabia being developed for the Saudi Vision 2030 plan under the direction of the crown prince.

Neom will contain numerous cities, resorts and other developments, such as The Line megacity, and is arguably the world's most controversial architecture project having been widely criticised on human rights grounds.

Last year, human rights organisation ALQST reported that three men were sentenced to death after being "forcibly evicted" from the Neom site.

The Riyadh Expo 2030 is also the latest in a string of international events to be held in the Persian Gulf, following the 2022 FIFA World Cup Qatar and the Dubai Expo 2020.

Dubai Expo 2020, which actually took place in 2021 due to the coronavirus pandemic, included pavilions designed by architects including Foster + Partners, WOHA and Santiago Calatrava.

The upcoming international fair is Osaka Expo 2025, due to take place on the artificial island Yumeshima in Osaka Bay with a masterplan developed by Japanese architect Sou Fujimoto.

Elsewhere in Riyadh, the Saudi Arabian government is also developing plans to build a 400-metre-high cube-shaped skyscraper named Mukaab.

The photo is by Tom Ravenscroft. 

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London's former City Hall, which was designed by British studio Foster+ Partners, is set to be renovated and extended as part of an overhaul by architecture studio Gensler.

The vacant building, renamed as 110 The Queen's Walk, is being transformed into a mixed-use scheme by Gensler for its owner – the Kuwait-owned developer St Martins.

Gensler's current plans include the extension of its floors and the introduction of ground floor retail facilities, while landscape architecture studio LDA Design revamps the adjoining public realm.

Completed in 2002 beside Tower Bridge on the south bank of the Thames, the former City Hall is one of London's landmark buildings. It is known for its slanting glass shell, designed by Foster without a conventional front or back and to visualise the idea of transparency in politics.

According to St Martins, the building is being updated to transform it into "a forward-looking mixed-use destination".

Building labelled at-risk buildings

City Hall was left vacant in December 2021 when its former tenant, the Greater London Authority (GLA), relocated to the Royal Victoria Dock in Newham as part of its cost-cutting measures.

In light of this, the Twentieth Century Society labelled the building as being at risk of alteration or demolition. The charity also called for the building to be listed, but an application has previously been rebuffed by Historic England.

While Gensler has yet to comment on its designs, a representative from St Martins said the project is focusing on "safeguarding" the building's character.

"Our ambition has centred around the modernisation of the building into re-imagined, open mixed-use accommodation, all the while safeguarding its intrinsic character," said representative Charlie Prentis.

"Through sensitive design, we aim to strike the optimal balance to ensure it remains a highly sought-after destination for both Londoners and visitors to London Bridge City," he continued.

"Our focus is on sustainability and an expanded biodiverse public realm, complemented by contemporary designed workspace, shops, cafés and restaurants. Our proposal offers a diverse array of amenities for all to appreciate."

Floors will be extended and balconies added

Details of the proposal that have been revealed so far include the extension of floorplates and, as shown in the render, the addition of planted balconies.

Meanwhile, the ground floor will be updated with cafes, shops and restaurants.

In the render, the balconies are shown in place of sections of the iconic curved glazing, which St Martins said will be replaced to improve the building's energy performance.

However, the developer has said the plans also "seek to maximise the retention of the building's structure" wherever possible in order to preserve its "circular footprint and sculpted form".

These plans will be exhibited by St Martins in two exhibitions scheduled for Thursday 7 and Saturday 9 December 2023 at Hay's Galleria. The public will be invited to submit their feedback before the proposals are reviewed and a planning application is submitted.

Other well-known buildings in London that the Twentieth Century Society has said are at risk of "demolition or disfigurement" are the Channel 4 headquarters in Westminster by British architect Rogers and the post-war Museum of London and Bastion House buildings on the corner of Grade II-listed Barbican Estate.

The render is by Gensler.

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Interlocking hexagonal pieces make up Flyt, a permeable paver system developed by Norwegian studio Snøhetta as an easy-to-use water management solution for urban areas around the world.

Commissioned by outdoor products supplier Asak, it aims to offer landscape architects, builders and developers a water management solution that is easy and creative to use.

It is also a response to the "urgent need for solutions to increase the urban water-management toolbox" as the world faces an increase in extreme weather conditions, Snøhetta said.

"By leveraging insights from our landscape architects, we realised that there's an urgent need for solutions to increase the urban water-management toolbox, reflecting the increasing challenges we globally face," said Snøhetta's director of product design Marius Myking.

"[The main goal] was to develop a solution and design that gave landscape architects, builders, and developers the freedom to be creative and form outdoor spaces in their way," he told Dezeen.

"We wanted the system to be easy to use and open up new opportunities to implement critical water management solutions in more ways."

Flyt is primarily aimed at urban landscapes requiring large permeable areas. It is shortlisted in the sustainable building product category in the Dezeen Awards 2023.

Snøhetta is currently working on Flyt installations worldwide, having recently installed it in a Lillehammer Olympic Park and at a pick-up point at a school in Arendal.

The system comprises three types of interlocking hexagonal pieces made of concrete, which are overlaid on gravel to ensure the permeability of the system.

According to Snøhetta, while being creative and easy to use, it also allows more flexibility and adaptability to different landscapes, unlike conventional paver systems.

"There are many suitable permeable pavers in the market. However, each of these designs has been developed as a singular design to adhere to a limited use," the studio said.

"These solutions have tended only to be used in highly industrial spaces and specific areas. In contrast, Flyt has been developed to address gradually changing needs and thus is also an expression informed by actual function and water-management strategy for each project."

Snøhetta is an architecture and design studio founded by architects Craig Dykers and Kjetil Trædal Thorsen in 1989.

Its other recent landscape projects include a path of stones off the coast of Norway that emerges and disappears with the tide and a cantilevered viewing platform on the Perspektivenweg walking trail.

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A university building by architecture studio Page\Park, which is shortlisted for the RIAS Andrew Doolan Best Building in Scotland Award, is the focus of this video produced by Stephenson&.

It is the final film in a series published by Dezeen this month with the Royal Incorporation of Architects in Scotland (RIAS), spotlighting the award's 2023 shortlist ahead of the winner announcement next week.

Stephenson& guides viewers in and around the building, named Campus Central, which marries a refurbished 1970s structure with a modern extension and a landscaped forecourt.

Page\Park director Ana Teresa Cristobal, one of two interviewees in the film, explained that establishing the pedestrianised space outside was key to the project as this area was previously "a really busy roundabout" inaccessible to pedestrians.

"A part of the masterplan work that we did was, first up, to try to empty this of cars and bring this beautiful room in between these two very important buildings of the campus back into use," Cristobal explained.

"This created an external living room, in which the university could do work and programme it like they would do any other room."

Another university building on this year's four-strong shortlist is the Laidlaw Music Centre at the University of St Andrews, which Flanagan Lawrence's co-founder Jason Flanagan said is designed from "the point of view of the performer".

The pair are vying against two houses, one by Ann Nisbet Studio that incorporates a ruin and another by Denizen Work that is intended to resemble an object "eroded by the weather".

The RIAS Andrew Doolan Best Building in Scotland Award is held annually to celebrate the works of Scottish architects. This year's winner will be revealed on 30 November and receive a £10,000 cash prize.

The post Page\Park brings "external living room" to University of Stirling appeared first on Dezeen.

The strength and availability of bamboo give it the potential to be as dominant in construction as concrete and steel, argues Atelier One engineer Chris Matthews in this interview.

"This idea that we have a sheet of rigid, extremely polished buildings, built from all kinds of steel and concrete, it has to change," Matthews told Dezeen.

"Bamboo has a real part to play as a low-carbon material, and it needs to be part of the toolkit that we have moving forward," he continued. "It's going to be a major player."

"The speed of growth is amazing"

Matthews spoke to Dezeen from the London office of British engineering firm Atelier One, where he is an associate director specialising in structural bamboo.

Bamboo is an extremely fast-growing species of giant grass that grows abundantly, quickly and cheaply around the world. Atelier One believes so much in its potential to become a dominant construction material that it has a team dedicated to its use in architecture.

While wood takes approximately 30 years to grow before being harvested as structural timber, a bamboo culm takes just three years.

"The speed of growth is amazing," Matthews explained. "And the other wonderful thing is that you can grow bamboo on degraded land," he continued.

"Land that wouldn't otherwise be being used, you can actually regenerate using bamboo."

Another key property of bamboo is that it is incredibly strong. In fact, its strength is comparable to aluminium, Matthews said.

"People always say it's as strong as steel – it's not as strong as steel, it's close to aluminium," Matthews said. "It is also actually stronger than concrete," he continued.

"So in terms of structures, there's no reason why you can't use it."

Locking carbon in buildings "the way forward"

Yet for Matthews, one of the characteristics of bamboo that makes it most attractive for the future of architecture is that it is an effective carbon store.

Similarly to timber, it sequesters carbon as it grows. There is even ongoing research to suggest that the material stores more carbon than timber, Matthews highlighted.

"There's no kind of definitive paper on this yet because it's such a hard thing to measure, but some papers say it's between two and six times as much [sequestered carbon]," he said.

"It's a great way of taking carbon out of the environment and making sure it doesn't get re-released."

As with many other advocates of sustainable materials, Matthews believes that the architecture and construction industries must urgently turn focus to the use of biomaterials such as bamboo to design buildings that sequester carbon, rather than expel it.

"In general, the idea of bio-based materials where we are capturing carbon and locking it up in a building, that has to be the way forward," he said.

"So instead of thinking of a building as something that we have to use up our carbon budget to make, we're instead thinking of the building as a way of locking up some carbon over the lifetime of the building," he added. "I hope more and more of that will happen."

Atelier One now testing structural limits of bamboo

Atelier One's interest in bamboo was sparked by its founder Neil Thomas' involvement in The Arc, a bamboo gymnasium at the Green School Bali designed by architecture studio Ibuku.

The sculptural building, which was highly commended in the 2021 Dezeen Awards, is distinguished by its complex double-curved roof made entirely from tensioned bamboo.

"The school has shown that, whereas bamboo was once seen as a 'poor man's timber', actually, the beauty of the structures that result really is amazing," reflected Matthews.

He argued that it also demonstrates it is possible to overcome the main disadvantage of the material, which has previously been a susceptibility to insect and fungal attacks, which in turn reduces its longevity.

This is achieved by ensuring the bamboo is not exposed directly to the sun, water or the ground. The bamboo is also treated to remove starch to help prevent these attacks, said Matthews.

"The issue has been that [bamboo is] prone to fungal attack and insect attack," he said. "You've now got a material that not only has this amazing speed and strength, but it's also able to have longevity as well."

Today, Atelier One's focus is primarily on maximising the strength and structural capabilities of bamboo, specifically through 3D-printed connections to link culms together.

"So you've got this amazingly strong material and now what we're trying to play with is how you actually get the full strength out of it," Matthews said. "It's all about the connections."

"We've started playing with 3D-printed connectors to link pieces of bamboo and get a longer piece of fabric. Once you start playing with the shapes, there's no end to the possibilities."

Laminated bamboo "seems to be performing better than timber"

The team is also exploring the potential of laminated bamboo – engineered bamboo products typically formed of layers of bamboo glued, stacked and pressed together.

According to Matthews, laminated bamboo can be used in the same ways as cross-laminated timber (CLT) but actually outperforms it in terms of strength.

"You don't just have to use the crops whole and unprocessed, there is a whole industry of laminated bamboo," Matthews said.

"Laminated bamboo actually seems to be performing better than timber, and also just like timber you can encapsulate it, so you put plasterboard on if you need to, it can be used as part of a build-up."

"People are doing it, it's early days, but the properties are amazing," he added. "And it's really starting to take hold."

Among the varieties of engineered bamboo are scrimber, cross-laminated timber-bamboo (CLTB) and a type of radial laminated bamboo called Radlam.

The latter is Atelier One's favourite, Matthews said, as it is processed in a way that retains all the layers of a bamboo culm, reducing waste and maximising strength.

"The reason we like this is because you get the whole culm, so the whole thickness of the bamboo – you're not wasting material as you process it," he said.

"And also, by not passing off the outer skin, you're getting the full strength," he continued. "It's three times stronger than standard timber, so the properties are amazing."

Another advocate for bamboo is Vietnamese architect Vo Trong Nghia. In an interview with Dezeen, he described the material as the "green steel of the 21st century".

"I think bamboo and laminated bamboo will replace other materials and become the 'green steel' of the 21st century," said Nghia.

"I hope many architects realise the potential of the material and build with bamboo more and more."

Dezeen In Depth

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British architecture studio Foster + Partners has released visuals of its design for the Saudi Arabia pavilion at Expo 2025 Osaka, which will be modelled on the kingdom's traditional villages.

It will be among the national pavilions at the upcoming World Expo, for which Sou Fujimoto Architects is developing the masterplan on the artificial island Yumeshima in Osaka Bay, Japan.

Foster + Partners said its aim for the pavilion is to offer visitors "a spatial experience that echoes the exploration of Saudi Arabian towns and cities".

This will be achieved in part with audio-visual installations throughout the pavilion, which are being developed in collaboration with design studios 59 Productions and Squint/Opera.

"The pavilion takes visitors on a journey of discovery and chance encounters that – layer by layer – paints a vivid picture of Saudi Arabian culture," said Foster + Partners head of studio Luke Fox.

"Our design plays with scale, light, sound and texture to stimulate all of the senses, while showcasing some of the country's most innovative and exciting accomplishments."

Led by Bureau International des Expositions (BIE), the upcoming Expo 2025 Osaka will open on 13 April 2025 and continue for six months.

It is being masterplanned by Sou Fujimoto Architects in collaboration with fellow Japanese studios Tohata Architects & Engineers and Azusa Sekkei. Another architect designing a pavilion for the event is Shigeru Ban.

Foster + Partners' design for the Saudi Arabia pavilion draws on the forms of architecture in the country's traditional villages.

It will be broken up into a series of angular volumes and feature a forecourt lined with plants native to Saudi Arabia. This will also provide entry for visitors and lead to a network of narrow, winding streets and a courtyard at the centre of the pavilion.

"The courtyard allows for moments of quiet reflection during the day and transforms into a venue for performances and events at night," said Foster + Partners.

Windows, doorways and other spaces throughout the structure will feature immersive installations designed with 59 Productions and Squint/Opera to connect "visitors with the undiscovered wonders of Saudi Arabia".

While emulating a traditional Saudi Arabian village, the pavilion's layout and massing are also intended to ensure cool winds can enter from the west in the summer months, while the forecourt offers protection from harsh winds from the north in the winter.

Foster + Partners has said its material choices for the pavilion will be "low-carbon" ones, such as stone, and it will be designed for deconstruction and reuse.

The design is also expected to incorporate rainwater recycling and photovoltaic technologies that generate electricity.

The last international fair was the Expo 2020 Dubai, which was held in 2021 due to the coronavirus pandemic.

Foster + Partners was the architect behind the trefoil-shaped pavilion that anchored the mobility district at the event.

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A 1930s telephone exchange in Cambridge, UK, has been retrofitted and converted into a "joyful and welcoming" office building by architecture studios Architype and Eve Waldron Design.

Named Entopia, the building was adapted for Cambridge Institute for Sustainability Leadership (CISL), a part of the School of Technology at the University of Cambridge.

Architype's and Eve Waldron Design's interventions have provided a mix of meeting rooms and flexible work areas for up to 375 people, alongside breakout and event spaces.

While providing a staff base for CISL, these facilities also accommodate The Canopy – a workspace hub aimed at eco-entrepreneurs and small businesses.

CISL's brief for the retrofit required the team to improve the building's energy performance and meet various rigorous energy standards, such as Passivhaus, as well as to minimise material waste and consumption throughout.

Architype led the architectural retrofit, while Eve Waldron Design carried out the interior overhaul in line with these sustainability goals.

"The Cambridge Institute for Sustainability Leadership wrote a very ambitious and challenging brief for the project, which set stringent targets for the building's performance, as well as the overarching aspiration to be an exemplary retrofit that in itself would be an 'educator' and enable leadership and dissemination to others," Architype's Wendy Bishop told Dezeen.

"The brief also required that the project would demonstrate good value for money while challenging conventional norms around building refurbishment. "

The majority of changes that have been made to the building to improve its energy performance are internal or not immediately obvious to passersby.

For example, internal insulation has been added to the building's outer walls, as well as to the thermal bridges, ground floor slab and roof. A large central mechanical ventilation with heat recovery unit has also been introduced to the basement.

Among the energy targets this enabled Architype to meet was EnerPHit Classic – a standard for refurbished buildings based on Passivhaus-oriented requirements. According to the studio, it is currently "the largest certified EnerPHit office in the UK".

Entopia's occupancy is also slightly lower than originally expected due to changes in office working post-pandemic, reducing its operational energy consumption, Architype said.

Some of the more visible changes to the building included windows updated with triple glazing and the removal of a rooftop plant room.

The removal of the plant room created space for a rooftop terrace, sheltered by a steel canopy. This is made from reclaimed steel and supports a series of photovoltaic panels.

Internally, Entopia's original circulation core has been retained, but some internal partitions have been removed in order to reconfigure and modernise the interior, which has been fitted out by Eve Waldron Design.

Eve Waldron Design's interior scheme is shortlisted in the sustainable interior category of the Dezeen Awards 2023.

"Our aim was to transform Entopia from being dark, uncomfortable and poorly performing, into a contemporary, vibrant and collaborative space that highlights innovation in circularity, health and wellbeing," the studio's founder Eve Waldron told Dezeen.

"We wanted to create a joyful and welcoming interior without inserting gratuitous and wasteful decorative finishes. We therefore had to make a strong impact with fewer materials and interventions," Waldron said.

To achieve this, the studio opted for colour blocking in each space. This is done through a combination of paint, graphics, floor lino and joinery.

"Restorative shades of blues and greens with pops of warm orange were used throughout the office areas, while deep yellow and bold graphics in the reception and stairways is to encourage using the stairs over the lift," Waldron said.

Second-hand furniture has also been used to add character to the interiors, including a number of mid-century design classics such as Happy Chairs by Boss Design. According to the studio, these pieces "transcend trends, thus ensuring their own longevity".

Alongside Entopia, other projects shortlisted in the sustainable interiors category of the Dezeen Awards are the Big Beauty store by Nina+Co and the Edit restaurant in London by Elly Ward and Joe Morris.

Elsewhere in Cambridgeshire, Architype created an archive for the Imperial War Museum, which is the most airtight building in the world.

The photography is by Solk Photography unless otherwise stated.

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A cluster of buildings and courtyards that act as "a natural extension" of a mountain will define this campus expansion, which Dutch studio OMA is creating for Hongik University in Seoul.

The extension is being developed by OMA to simultaneously increase the amount of teaching facilities for the South Korean university and its available green space.

It will be predominantly positioned below ground level to blend in with the topography of the site, which sits on the slopes of the Wau-san mountain, with the aim of reducing its visual impact while better connecting the university to its surroundings.

"This is a project that shies away from conventional labels," said OMA partner Chris van Duijn.

"It is a building, a masterplan and landscape design all at once," he continued. "It purposely avoids [standing] out and invites to be discovered gradually. In doing so, it aims to reestablish the connection the university once had with the neighborhood."

Hongik University dates back to the 1950s. According to OMA, it had "reached the limits for expansion" due to its proximity to the mountain and built-up Hongdae district, but Seoul Metropolitan Government recently made a field beside it available for construction.

OMA's design was the winning entry of a competition, which studios including SANAA, Herzog & de Meuron, Renzo Piano Building Workshop and David Chipperfield Architects also entered.

The buildings in the proposal are arranged across the site in a series of interconnected clusters, "conceived as a natural extension" of Wau-san, OMA said.

They will extend below ground, allowing their roofs to double as pathways that provide links out to the Hongdae district, and will be lined with trees and greenery.

OMA's arrangement of buildings in each cluster will depend on their programme, which will include laboratories for the engineering faculty, makers spaces and general amenities for the university.

Outdoor courtyards that slope with the site will be slotted between, creating opportunities for light to enter the surrounding sunken buildings.

Other facilities will include an art centre and a multipurpose learning hub. OMA will also incorporate various facilities for the public in an effort to further connect the university to the surrounding district.

"We have designed a campus that lets itself be 'contaminated' with some of the energy, spontaneity, and creativity of the Hongdae neighborhood," said associate Ravi Kamisetti.

OMA, officially known as Office for Metropolitan Architecture, was founded in 1975 in Rotterdam by Rem Koolhaas, Elia Zenghelis, Madelon Vriesendorp and Zoe Zenghelis. The studio also has offices in New York, Doha, Sydney, Hong Kong, Beijing and Dubai.

Elsewhere, it is currently also developing a geometric skyscraper in Dhaka and a stepped shopping centre with glass facade in Tokyo.

The renders are by Negativ, courtesy of OMA. 

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Following its unveiling in Australia last week, photographer Rory Gardiner has captured this year's MPavilion, which was designed by Pritzker Architecture Prize-winning architect Tadao Ando.

Defined by Ando's signature use of exposed concrete, it is the 10th edition of the MPavilion that is installed each year in Melbourne.

Gardiner's photos capture the geometric design of the structure, which is enclosed by two concrete walls, as well as some of the first people to engage with it in Queen Victoria Gardens.

The pavilion's giant disc-shaped roof, which is supported by a large concrete column and clad in aluminium, can also be seen.

This year's MPavilion was designed by Ando to offer a space to reflect on the surrounding gardens.

It is the Japanese architect's first-ever project in Australia.

"The design for the MPavilion began with a desire to find a scene of eternity within an oasis of Melbourne, the Queen Victoria Gardens," said Ando when it was revealed last week.

"To reflect the lively nature of the site, like a blank canvas, I imagined an architecture of emptiness."

The building's plan is formed of two offset squares, which give rise to two entrances on opposite sides. Half of the interior is paved, while the other side is occupied by a reflecting pool.

Its walls are punctured by two 17-metre-long slits, cut out to visually connect the pavilion to the park and skyline.

"Pure geometry outlines the composition of this design," added Ando. "Ancient Egyptians used fundamental geometry to create ordered spaces and structures in the natural world."

"Geometry formed the foundation of philosophical study in ancient Greece. It is the expression of human reason and the pursuit of ethereal space," he continued.

The pavilion will now be used for the MPavilion's five-month-long events series.

Last year's MPavilion was a bright orange fabric structure designed by Bangkok-based studio All(zone). Previous editions have been designed by architects including OMA and Amanda Levete.

MPavilion takes place from 16 November to 28 March 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Birds, butterflies and trees are considered co-owners of Labri, a glass house in Vietnam designed by local studio Nguyen Khai Architects & Associates.

The 55-square-metre home, which is shortlisted in the Urban house category of the Dezeen Awards, was commissioned by a couple for a site beside a large pond in the city of Hue.

Nguyen Khai Architects & Associates (NKAA) was given a simple brief that only requested one floor of living space and the inclusion of lots of outdoor areas.

The studio took this as an opportunity to design a home that is as much for the client as it is for local wildlife and plants, which it said now make up "the majority of the living members".

"We asked ourselves what it would feel like to live under one roof with our botanic friends," the studio told Dezeen.

"It was our wish to create a deeper connection between humans and nature in this modern and technological world."

Labri's living spaces are divided into four staggered blocks connected by pathways and formed of a mix of glass and concrete. Each one is covered in sprawling vines and is home to its own large rooftop frangipani tree.

NKAA "randomly" placed the different-sized blocks on just over half of the 100-square-metre site, giving up the rest of the plot to a series of gardens and inner courtyards to encourage local wildlife.

The roofs, which are accessible by fixed ladders, are intended to emulate the feeling of walking over a mountain while the four blocks are intended to evoke caves inside.

"Taking a walk on the top of the house is like walking through the rolling mountain range. Under the mountains, there are caves that are cool and safe," said NKAA.

Inside Labri, one of the blocks contains a living and dining space, while another contains a kitchen. The other two comprise a bathroom and sleeping area.

The blocks are unified by their deliberately simple designs, free of internal partitions and solid walls allowing residents to "see through every space". However, some privacy is provided to the outside by the vines and greenery.

NKAA's combination of concrete and glass throughout the home was chosen to achieve a minimalist look, which it said was suited to the "concept of Labri, in which everything is just bare, simple and original".

To prevent overheating, several openable doors and windows were used to facilitate natural ventilation, while the greenery helps to shade the interiors. Labri's proximity to the pond also helps cool the air during the summer months, NKAA said.

Greenery is a popular feature in many Vietnamese houses. In Ho Chi Minh City, MIA Design Studio recently created a concrete home with protruding cuboid planters.

Another Vietnamese studio that often combines plants with architecture is Vo Trong Nghia Architects, with recent examples including the Bat Trang House and Ha Long Villa.

The photography is by Hiroyuki Oki.

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This video produced by Stephenson& spotlights a rural house by Glaswegian practice Ann Nisbet Studio, which is shortlisted for this year's RIAS Andrew Doolan Best Building in Scotland Award.

It is the third short film published this month by Dezeen with the Royal Incorporation of Architects in Scotland (RIAS) and Stephenson& to spotlight the award's four-strong shortlist for 2023.

In the video, the house named Cuddymoss can be seen within its context, adjoined by a former stone ruin and animated by changing shadows over the course of the day.

Over the top of the footage, Ann Nisbet Studio's founder describes the ambition for the home, which was primarily to preserve as much of the 200-year-old ruin as possible.

"It was important that we retained as much of the ruin as possible and that we didn't try and put it back to kind of romanticised version of what you might assume it would have been 200 years ago," Ann Nisbet said.

"And any extension or alteration or intervention that we did, we wanted it to sit in harmony with the ruin, we didn't want either part to be more important than the other."

The 2023 winner of the Andrew Doolan Best Building in Scotland Award will be announced on 30 November and receive a cash prize of £10,000.

Alongside Cuddymoss, another house vying to win the prize overlooks a loch and was designed by Denizen Works to resemble an object "eroded by the weather".

The other two projects on the four-strong shortlist are university buildings – one is Campus Central at the University of Stirling and the other is Laidlaw Music Centre at the University of St Andrews.

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Design studio Space Caviar and philanthropic initiative Re:arc Institute have launched an online directory to showcase and support architectural practitioners challenging traditional ways of practice.

The open-access Non-Extractive Architecture directory features more than 700 trailblazers worldwide who "prioritise social justice, material awareness and long-term thinking" in their work.

It has been launched by Space Caviar and the Practice Lab branch of Re:arc Institute in response to the growing awareness of the damage that construction is doing to the planet and is hoped to encourage more design that alleviates this.

"As the scale and magnitude of the climate crisis we are collectively facing – and the central role the construction industry plays in accelerating it – become more evident, there is increasing awareness within the profession, especially among the youngest generation of the profession, that something must change," said Space Cavier founder Joseph Grima.

"Our goal is for the Non-Extractive Architecture project to be an accelerator of this change," he told Dezeen.

The directory is a continuation of Space Caviar's existing work exploring the concept of Non-Extractive Architecture – a term it coined to summarise a style of architecture that prioritises conserving, rather than exploiting, the Earth's resources.

Each practitioner a "useful part to a larger puzzle"

The studio released a book, Non-Extractive Architecture Vol 1, in 2019 and later began a year-long research residency with the non-profit private organisation V-A-C Foundation.

"The directory we are launching today represents the most ambitious phase of the project so far," said Grima.

"We didn't expect the book to receive as much attention as it did, and now sadly it's out of print and quite difficult to get hold of," he explained. "This is why we decided to go with an online directory – to keep it as democratic and open-access as possible and also to allow it to grow organically over time."

The directory is divided into six themes, named Timeless Ways of Building, Material Origins, The Politics of Construction, The Long Now, Building as Last Resort and Systems Architecture.

According to Grima, the categories are intended to maximise the directory's accessibility and help readers "take that first step of jumping in".

"We intend to document the work of everyone who we feel is making a sincere effort to contribute to meaningful change in the way in which architecture will be practised in the future," said Grima.

"This is not to say that their practice is necessarily devoid of critical weaknesses – it's more that we feel their work contributes one useful part to a larger puzzle."

"We hope it can accelerate the diversification of a profession"

Among the studios featured in the directory is Atelier Luma, a circular design lab based at Luma Arles that specialises in developing materials made from locally sourced bio-waste, various by-products and other under-valued materials.

Others include Field Architects, a nomadic studio that is developing ways to combine traditional and indigenous construction techniques with modern methods, and Dakar collective Worofila, which specialises in using local, low-carbon materials to create buildings best suited to their climate.

Atelier Aino – a French cooperative architecture workshop focused on retrofit instead of demolition – also features in the directory, alongside a women-led landscape design studio called ORU in Mexico that is dedicated to building resilience to climate change.

Grima said that the goal of the directory is to "accelerate a transformation in the profession by helping like-minded practitioners find one another and share knowledge".

"We hope it can accelerate the diversification of a profession that is far too male, western-centric and inward-looking – we hope it can be a well-structured, easy-to-use and inspiring source of contacts for clients, curators, editors and conference moderators who otherwise tend to default to the same familiar names," he explained.

Directory "can help inspire confidence"

However, he also hopes it can help motivate people who are "interested in approaching architecture differently", particularly the younger and emerging generation of architects.

"It is a heavily regulated field, and the current modus operandi can seem inescapable," he reflected.

"Seeing hundreds or thousands of other practices who have already found ways to question the prevalent assumptions about how design is practiced can help inspire confidence in the idea that it is possible to do things differently."

The non-extractive architecture(s) directory is an ever-evolving resource and it is welcoming other contributions for its expansion.

Grima shared details of the Non-Extractive Architecture project in a talk with Dezeen in 2021 and also in a manifesto written for the Dezeen 15 festival.

"In the face of clear and present danger, we have no choice but to rethink the predatory principles (towards habitat, towards each other) that modern industrial economies are optimised towards," Grima wrote in his manifesto.

The images are courtesy of Space Caviar.

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Living rooms with tactile brick, concrete and wood surfaces feature in this lookbook, which shows that opting for industrial materials doesn't have to sacrifice cosiness.

Typically informed by old and unrefined factories, lofts and warehouses, industrial-style interiors are a go-to for many contemporary designers.

Homes of this style are often characterised by a combination of man-made and natural materials, including brick, wood, concrete and metal, and the exposure of details that are usually concealed, such as ductwork.

While, for some, the image of industrial spaces can conjure up feelings of being cold and unwelcome, this list of living rooms proves that with the right finishes, the style can actually be warm and inviting.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring interiors with furry walls, sculptural wooden staircases and rustic Italian interiors.

St John Street, UK, by Emil Eve Architects

Emil Eve Architects retained the raw aesthetic of this former warehouse while transforming it into a warm and inviting home.

In the living room, old brick walls, metal window frames and a rough concrete ceiling form a tactile backdrop to contemporary wooden furnishings and an abundance of tall plants.

Find out more about St John Street ›

Michigan Loft, USA, by Vladimir Radutny Architects

A suspended black-metal fireplace is the centrepiece of this lofty apartment, which is located in Chicago and dotted with floor furnishings including a Toga sofa.

The fireplace is complemented by exposed black ducting and hanging lights, which pop against the surrounding brick, warm wood and concrete elements.

Find out more about Michigan Loft ›

Gale Apartment, Brazil, by Memola Estudio

Exposed services, ducting and concrete help achieve an industrial look in this living room, which is located in a Brazilian apartment designed by Memola Estudio.

To add warmth to the space, these finishes are balanced with natural details including dark wooden floorboards and furniture, suede chairs and a textile wall tapestry.

Find out more about Gale Apartment ›

Relogged House, Ukraine, by Balbek Bureau

This living room belongs to a Ukrainian cabin, designed by Balbek Bureau with a utilitarian aesthetic that aims to challenge conventional cabin interiors.

Concrete is the predominant material, but stainless steel and wooden elements such as horizontally stacked logs also feature throughout. To add warmth, a giant fireplace takes centre stage and is positioned opposite a modular sofa on which visitors can cosy up.

Find out more about Relogged House ›

South 5th Residence, USA, by Alterstudio Architecture

In this lounge, the stripped-back material palette helps to draw attention to the "dramatic vistas" over a valley in Austin, Texas.

Rough-textured concrete forms the walls of the space, while polished concrete lines the floor. Window frames made of wood and steel add to the room's industrial look, and colour is introduced through furnishings including a tubular pink-metal armchair.

Find out more about South 5th Residence ›

A Forest House, Ecuador, by Aquiles Jarrín

Aquiles Jarrín married dark Chonta wood with black-steel beams and rough concrete for the design of this textural living room, found in A Forest House in Quito.

The wooden elements help break up the open-plan interior, carving out cosy nooks and storage spaces for the owner. The seating area is warmed by a cowhide rug and tan butterfly chairs.

Find out more about A Forest House ›

Analog House, USA, by Olson Kundig Architects

A tactile material palette of metal, concrete and glass tones was used for the living room of Analog House, a home in a Californian forest created by Olson Kundig Architects with the ​​founder of Faulkner Architects – the client for the project.

In the lounge, these materials are paired with light wooden floors and minimalist furnishings including hanging lights, a sleek black sofa and tubular chairs.

Find out more about Analog House ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring interiors with furry walls, sculptural wooden staircases and rustic Italian interiors.

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This video by Stephenson& offers a glimpse inside Laidlaw Music Centre by architecture studio Flanagan Lawrence, which is in the running for this year's RIAS Andrew Doolan Best Building in Scotland Award.

The film is the second in a series of videos being published by Dezeen this month with the Royal Incorporation of Architects in Scotland (RIAS) to spotlight the award's 2023 shortlist.

In the short film, Stephenson& captures how music students are using the space at the University of St Andrews while Flanagan Lawrence's co-founder Jason Flanagan tells the story behind it.

Specifically, Flanagan sheds light on how the design was developed in response to historic infrastructure and trees on the site, but also based on how it might sound to its users.

"We approached the design of the building from the inside out," said Flanagan.

"When you're designing for musical spaces, you have to start from the point of view of the performer and the audience and then design the room as much as anything about the way it's going to sound for them as how it's going to look."

Held annually by RIAS, the Andrew Doolan Best Building in Scotland Award celebrates the works of Scottish architects. The 2023 winner will be announced on 30 November and receive a cash prize of £10,000.

Laidlaw Music Centre at the University of St Andrews is one of two university buildings vying for the title. The other is Campus Central at the University of Stirling.

The other two projects on the four-strong shortlist are residential – a house that incorporates a ruin and a castle-like dwelling overlooking a loch.

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Increasingly prevalent disasters mean collaboration and humility in architecture are more important than ever says Mehmet Kalyoncu, the architect coordinating efforts to rebuild following the Turkey-Syria earthquake.

"Our problems in the world are more complex than ever and we are in a time where we need teamwork," Kalyoncu told Dezeen.

"The era of starchitects is finished because the problems are much harder than one single person should carry," he said. "The new approach is going to be people working together."

Kalyoncu is a Turkish architect who serves as chair of the Turkey Design Council, a non-governmental organisation founded in 2015.

It is currently spearheading the rebuilding of the earthquake-ravaged Hatay province in southern Turkey.

The province was among those affected by the Turkey-Syria earthquake in February this year – a disaster that claimed at least 56,000 lives.

Turkey Design Council gathering "best brains in the world"

The Turkey Design Council has recently put together a consortium of 13 local and international companies spanning various disciplines to help rebuild Hatay.

Described by Kalyoncu as the "best brains in the world", the group consists of firms working across sectors including design, engineering, sustainability and heritage.

Among them are Danish architecture studio BIG, British engineering firm Buro Happold and British architecture studio Foster + Partners, which is leading the masterplan.

"After the devastating earthquake, unfortunately, placemaking and developing cities became the number one priority of Turkey," he said.

"As a non-governmental organisation, we felt great enthusiasm to involve ourselves and make this process as participatory as possible at local, national and international levels to create something really meaningful," he continued.

Kalyoncu said that international and cross-disciplinary collaboration, such as in this project, are vital for Turkey's recovery efforts due to the scale and complexity of the disaster.

"This is the most sophisticated urban problem in the world in this century," he said. "That's why we need the best brains. That's why we invited Foster and Partners, Buro Happold and Bjarke Ingels."

However, he believes that NGOs are the "driving force" when it comes to designing for disasters and suggested that architects have little power without them.

"An architect cannot make a social impact without involving other experts," Kalyoncu explained.

"The participation of non-governmental organisations is important," he continued. "I cannot say one single architect or one single architectural office can change something."

"We should listen more than we talk"

Increasing collaboration in architecture will require architects and designers to learn to practice with humility, he added, something he believes they will find to be a "challenge".

"Humility is, I think, very important," Kalyoncu explained.

"Working with designers is very hard," he continued. "Our approach is that the less area we occupy on the table, the more other people will come. We should listen more than we talk."

Turkey Design Council's project stemmed from discussions with Turkey's Ministry of Urbanisation and Ministry of Culture, which asked the organisation to help protect Hatay from future disasters and honour its history respectively.

The project is expected to take between five and 10 years to complete.

The rebuild will focus largely on the reconstruction of important sites such as places of worship and bathhouses, as well as an urban masterplan for the city of Antakya – the heart of the province.

With 80 per cent of Antakya destroyed during the earthquake, the team is relying on an archive of material documenting the city to guide the reconstruction.

"We don't want to make the new design, the new atmosphere, the new feeling very different from the old," said Kalyoncu.

"So we created an archive showing the cultural essence of Antakya," he explained. "There are many images, many stories and many videos taken with the people living there describing their city, how was it, how they felt, which areas they feel are important and make Antakya different than any other place in the world," he said.

"We don't want to design something that can be anywhere in the world."

Project aims to be a model for disaster recovery

In the wake of February's earthquake, it was widely reported that the scale of the disaster in Turkey was exacerbated by poor quality construction in the country resulting from a disregard for legislation.

At the time, the government issued more than 100 arrest warrants linked to buildings that were destroyed while Turkish architects called for urgent improvements to architectural education and practice.

To prevent history from repeating itself, Kalyoncu hopes that the project will set a precedent for high-quality earthquake-proof construction in the country outside of Hatay province.

"Hatay will be built back starting from the centre," he explained. "So if the centre will have good design, good planning, and really [align] with regulations, then the rest we hope will follow that."

While informing the post-earthquake rebuilding in Turkey, Kalyoncu hopes the project will also set an example for disaster recovery worldwide.

"There has never been an era that we lost so many cities in such a short time, we lost Beirut, we lost Aleppo and we are losing Gaza now. We lost them because of disasters," he added.

"That's why city planners, architects and people in the built environment, this field, it's our responsibility to build back."

In particular, he hopes the project and the consortium behind it will also highlight the value of international collaboration.

"Politicians, if you ask me, cannot do this without the support of international cooperative organisations," he said.

"So as Turkey Design Council, as a non-governmental organisation that has lived through a recent and the most challenging experience, we want to continue in other geographies of the world."

For now, many people displaced by the earthquake in Turkey remain living in temporary housing.

Among the organisations to help deliver this accommodation was Voluntary Architects' Network, the non-governmental organisation founded by Japanese architect Shigeru Ban in 1995.

The team used Ban's Paper Partition System, which makes use of cardboard tubes and fabric, to divide evacuation centres into private living spaces for survivors.

The images are courtesy of the Turkey Design Council unless otherwise stated.

Designing for Disaster

This article is part of Dezeen's Designing for Disaster series, which explores the ways that design can help prevent, mitigate and recover from natural hazards as climate change makes extreme weather events increasingly common.

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A castle-like house by London studio Denizen Works that is vying for the RIAS Andrew Doolan Best Building in Scotland Award is the focus of this video, produced by Stephenson&.

The short film is the first in a series being published by Dezeen this month with the Royal Incorporation of Architects in Scotland (RIAS) to spotlight the award's 2023 shortlist.

Stephenson& captured the monolithic, sculpted form of Hundred Acre Wood and how it sits within its dramatic surroundings while also offering a glimpse of its spacious interior.

Throughout, Denizen Works founder Murray Kerr explained how his studio came to develop "the language of the building" from a blank canvas by following sun and wind patterns.

"We started to talk about, well, what if the house is almost a kind of found solid and then gets eroded by the weather," he said.

"Which is why the west elevation that faces the prevailing winds is much more kind of broken down and the rest of the house."

The Andrew Doolan Best Building in Scotland Award is held annually by RIAS to celebrate the works of Scottish architects. This year's winner will be announced on 30 November and receive a £10,000 cash prize.

Two university buildings – Campus Central at the University of Stirling and Laidlaw Music Centre at the University of St Andrews – are also vying for the title of Scotland's best building for 2023.

The final project on the four-strong shortlist is a house that incorporates a ruin, which was longlisted in the rural house category of the Dezeen Awards 2023.

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British architecture practice Foster + Partners and Danish studio BIG have been selected to help rebuild Hatay following the devastating Turkey-Syria earthquake in February.

The studios will help rebuild the Turkish province, which was heavily damaged by the earthquake, as part of a consortium led by Turkey Design Council, a non-governmental organisation dedicated to developing the country socially and economically through design.

Turkish architecture studios DB Architects and KEYM also form part of the group, which comprises 13 companies across fields including architecture, heritage and engineering.

"Following the earthquake, we experienced the biggest ever global cooperation for the relief effort," said Turkey Design Council chairman Mehmet Kalyoncu.

"Now, we want this to be the biggest-ever global collaboration of experts to shape the next era of Hatay."

Project aims to be "an example for the world"

On 6 February, a 7.8 earthquake struck Turkey and Syria, causing the collapse of thousands of buildings and claiming the lives of more than 55,000 people across the two countries.

In Turkey, the scale of damage is widely believed to have been exacerbated by poor construction caused, in part, by a disregard for legislation.

The focus for Turkey Design Council's rebuild with Foster + Partners and BIG is currently on the Hatay province in the southeast. At the heart of the proposal will be a masterplan for the city of Antakya, 80 per cent of which was destroyed during the event.

It will aim to ensure the longevity of the region in the future while also preserving its heritage.

"This is the first step towards Hatay's next chapter and with the support of our project partners we can ensure it becomes an example for the world of design-led revitalisation," said Kalyoncu.

Foster + Partners to lead masterplan

The team behind the masterplan for Hatay is set to be led by Foster + Partners.

"We are looking forward to working with local communities and collaborating with architecture, planning, urban design and engineering experts in Turkey, to help develop plans for the historic city of Antakya," said Foster + Partners' senior executive Nigel Dancey.

The masterplan will focus specifically on "the restoration of important sites" including churches, mosques, bathhouses and synagogues, the team said. It is expected to be revealed fully in 2024.

"This design aims to preserve Hatay's unique identity, while making it resilient to earthquake risks," added Bünyamin Derman of DB Architects.

"We are trying to achieve a master plan that will enable the residents of Hatay, who migrated after the earthquake, to return to their homeland," added Derman.

While specific details of the masterplan are yet to be disclosed, Derman said new buildings will be constructed from a range of wood, steel, and reinforced concrete.

It will also draw on courtyard-house typology in Antakya and include "a historical and cultural tour route" to celebrate the region's history, he added.

"Our ambition is to place collaboration in the centre"

While helping Turkey to recover from the February earthquakes, Turkey Design Council's ambition for the project is also to offer a model from which other countries can learn when rebuilding after disasters.

"If we are successful in Hatay, we can integrate this spirit of collaboration into other Turkish and international recovery and revitalisation efforts where local people most need them," chairman Kalyoncu said.

"Hatay will become a global exemplar for earthquake recovery, taking best practice principles from around the world and applying them to its unique context."

Kalyoncu also hopes it will also demonstrate the value of collaboration in design.

"Our ambition is to place collaboration in the centre of our post-disaster reconstruction efforts," he said.

"We are in a specialisation era in all aspects of life, and this brings loneliness and fragmentation which makes us, our society, city and world weak against any problems or risks," Kalyoncu continued.

"We think that we can overcome this problem by collaborating with each other, person to person, group to group, city to city and country to country."

Foster + Partners has been working with the Turkish Design Council since March 2023 to help set out guidelines for the urgent construction of temporary housing developments.

Elsewhere, the studio's founder British architect Norman Foster is also helping to develop the masterplan for the rejuvenation of Kharkiv following Russia's invasion of Ukraine.

Foster said he wanted "to assemble the best minds" to rebuild the Ukrainian city.

Earlier this year, Japanese architect Shigeru Ban used his Paper Partition System to create cardboard shelters for victims of the Turkey-Syria earthquake.

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Chinese architecture studio MAD has unveiled its plans for The Ark, a project involving the renovation and extension of a warehouse at an old cement factory in Shanghai, China.

The Ark will be distinguished by a futuristic, curved metal extension positioned at roof level and designed to resemble a floating ship – giving the project its name.

MAD's ambition is to preserve the industrial aesthetic of the ageing warehouse on the banks of Chuanyang River while contrasting it with the contemporary addition.

Once complete in 2026, it is hoped to become a "multifunctional public waterfront space" catering for a mix of creative, cultural and catering businesses, MAD said.

"Industrial heritage is preserved and utilised not only because of the historical memories it carries, but more importantly because it gives the future a sense of history," said MAD founder Ma Yansong.

"So we don't need to celebrate and consolidate industrial aesthetics here, but rather focus on the spirit of the contemporary and the future," continued Ma.

The industrial site, officially named Shanghai Zhangjiang Cement Factory, was once one of largest cement factories in Shanghai, the studio said. It ceased operations in 2013.

MAD's intervention focuses specifically on the Wanmicang warehouse, which occupies the south side of the site. Its transformation forms part of a wider project involving the overhaul of the site to create a complex for various types of business.

Once complete, the old and new structures at The Ark will be separated by a glass curtain wall.

A glass elevation will also be added in place of the warehouse's west facade, overlooking a "24-hour urban public space" on the waterfront, while others will be repaired and retained.

Visible through the west-facing glass wall, the factory interior will be long and tall and home to what MAD has described as a "multi-functional urban living room".

Here, a metal ladder will lead up to the rooftop extension, which will be clad in stainless steel that is slightly reflective. The eaves of the Ark will be tilted to help minimise its visual impact.

Visitors to the rooftop extension will be greeted by glass-lined rooms and a public terrace affording panoramic views of the industrial site and the adjacent Chuanyang River.

Dotted throughout the project will be areas of planting, including a "tiered garden" that steps up alongside the metal ladder to the roof. It will be naturally lit via the curtain wall that separates the extension and factory walls.

As part of the project, MAD will construct a bridge connecting the two sides of the river, improving access to the site and its public spaces.

MAD is an architecture studio founded by Ma in Beijing in 2004. Elsewhere in China, it is currently working on a six-venue arts and cultural centre and a feather-like terminal for an airport.

In Beijing, it is nearing completion on China Philharmonic Concert Hall, which will have a translucent, wavy facade.

The visuals are courtesy of MAD. 

Project credits:

Architect: MAD
Principal partners in charge: Ma Yansong, Dang Qun, Yosuke Hayano
Associate partner in charge: Fu Changrui
Design team: Zheng Chengwen, Zhang Tong, Zhou Rui, Shiko Foo
Client: Shanghai Quan Cheng Development & Construction Co., Ltd.
Executive architects: Tongji Architectural Design (Group) Co., Ltd.
Structural consultant: Archi-Neering-Design/AND Office
Facade consultant: Shanghai CIMA Engineering Consulting Co. Ltd.
Interior consultant: MAD Architects
Lighting consultant: TS Shanghai Tunsten Lighting Design Co., Ltd.
Landscape consultant: Design Land Collaborative Ltd.

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Following the completion of The Spiral in New York, we take a look at seven of the latest skyscrapers designed by its architect, Danish studio BIG, along with a "landscaper".

From CapitaSpring in Singapore to O-Tower in China, a mix of recently completed projects and others still under construction make up the list of towers by the studio, which was founded in 2005 by Danish architect Bjarke Ingels.

Common threads throughout the projects are the incorporation of greenery to bring occupants closer to nature and unusual forms that challenge traditional boxy skyscrapers that dominate many city skylines.

Read on for eight of the latest skyscrapers designed by BIG:

The Spiral (2023)

Appropriately named The Spiral, this 304-metre-tall supertall skyscraper is defined by a series of stepped terraces that wind up and around its exterior.

The terraces were intended as a continuation of the High Line, the raised linear park positioned beside it. Ingles said this "expands the daily life of the tenants to the outside air and light".

CapitaSpring (2022)

Completed in 2022 in collaboration with Carlo Ratti Associati, CapitaSpring is a 280-metre-tall skyscraper in Singapore with dramatic facade openings.

These sculptural openings frame pockets of greenery, including a four-storey vertical park named the Green Oasis placed in the middle of the tower.

"CapitaSpring is like a vision of a future in which city and countryside, culture and nature can coexist, and urban landscapes can expand unrestricted into the vertical dimension," said Ingels.

Iqon (2022)

The shortest building on the list is Iqon, a residential skyscraper completed by the studio last year in Quito. Yet, at 133 metres in height, it is the tallest building in the Ecuadorian capital.

Iqon is animated by a facade of cascading balconies dotted with planting, arranged by BIG to frame views over the city and the Pichincha volcano.

Telus Sky Tower (2020)

BIG opted for a "feminine silhouette" when creating Telus Sky Tower, in a bid to diversify the skyline in Calgary, Alberta.

"Surrounded by blocky skyscrapers occupied by petroleum companies, Telus stands like a lady in a cluster of cowboys," Ingels said.

Its pixelated facade twists diagonally 222 metres upwards from its base, signifying the shift between the office and residential programs inside.

Vancouver House (2020)

The form of 155-meter-high Vancouver House in Canada also twists upwards from its base. However, in this case, it is a response to site constraints.

According to BIG, the sculptural silhouette sets the building back 30 metres from an adjacent bridge and prevents the overshadowing of a local park. BIG's ambition is for the project to serve as a blueprint for transforming awkward sites in cities.

Qianhai Prisma Towers (under construction)

A pair of leaning volumes that taper upwards towards the sky will define Qianhai Prisma Towers, which are currently under development in Shenzhen, China.

The skyscrapers, which will contain a mix of residences and offices, are designed with "open seams" that are filled with outdoor gardens and terraces.

While the office tower will reach 250 metres in height, the other will reach 300 metres – reaching the height required to be classed as a supertall skyscraper.

O-Tower (under construction)

Another skyscraper currently under construction by BIG is O-Tower, designed for Chinese smartphone manufacturer OPPO in Hangzhou.

It will be distinguished by its unusual infinity-loop shape that will frame an open courtyard at its centre. According to the studio, the circular skyscraper is intended to serve as an "iconic landmark and gateway" to the Future Sci-Tech City.

Google campus (under construction)

Stretching to 330 metres in length, the upcoming Google headquarters is not a skyscraper but rather described as a landscraper. In fact, it is longer than the Shard – the UK's tallest building – is tall.

The building, currently under construction in London is being designed in collaboration with Studio Heatherwick and will feature a rooftop garden and a running track.

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A large sky garden filled with plants will be the focal point of Terrarium Cheong-Dam, a skyscraper that architecture studio ODA is designing in South Korea.

Measuring 200 metres in height, the 45-storey tower will be located in Cheongdam-dong in Seoul's Gangnam district and contain a mix of homes and offices.

Alongside the semi-private sky garden, which is described by ODA as a "terrarium", there will also be a podium with an accessible public park intended to enhance the surrounding urban landscape.

According to studio founder Eran Chen, these were designed to align with Seoul's efforts to expand "its public realm to create a more meaningful urban environment".

"For the tower's podium, we want to bring the community a space that serves as both a respite from the streetscape," Chen explained.

"We're also bringing this porous design to the building's greenery-filled terrarium, giving future tenants and residents another valuable space to engage with one another and enjoy nature."

Terrarium Cheong-Dam, which will have a concrete structure, was the winner of a recent competition held in South Korea called the Creative Innovation Architecture Design Pilot Project.

It is being developed by ODA in collaboration with local companies including real estate agency Miraein, space planning studio Index Partners and architecture studio Heerim Architects.

Inside, Terrarium Cheong-Dam will comprise a mix of office space and "high-end residences". There will also be a membership club in the basement and retail in its two-storey podium.

The podium's park, which is designed to be highly accessible with multiple entry points, will be landscaped with greenery, water features, sculptures and gallery space.

Meanwhile, the residential elements of the skyscraper will be defined by loggias that aim to maximise residents' connections to the outside.

Just below the homes will be the semi-private "terrarium", which will be open to both residents and office tenants. According to ODA, it is intended to offer the building "a dramatic, sculpted look".

The tower will be the latest in the city where the tallest skyscraper is the Lotte World Tower in the Sincheon-dong neighbourhood, which is depicted in the render above. Designed by Kohn Pedersen Fox, the Lotte World Tower became the world's fifth-tallest building upon completion in 2017. Today it is the sixth tallest.

ODA was founded by Chen in New York in 2007. The Terrarium Cheong-Dam proposal is visually similar to another skyscraper it is developing in Seattle that will also feature a greenery-filled opening.

The studio is currently developing a cylindrical skyscraper and a pair of tapered towers that will be wrapped in a steel grid in Florida.

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A circular wooden structure with a diameter of 700 metres is under construction off the coast of Japan as part of architect Sou Fujimoto's masterplan for Expo 2025 Osaka.

Fujimoto is designing the 60,000-square-metre structure to encircle the site of the upcoming World Expo, which will be located on the artificial island Yumeshima in Osaka Bay.

According to the Expo 2025 Osaka organisers, the structure is intended to serve as a symbol of "one sky" and create a "connection" between the participating countries.

It is being developed by Sou Fujimoto Architects for the international fair in collaboration with fellow Japanese studios Tohata Architects & Engineers and Azusa Sekkei.

Led by Bureau International des Expositions (BIE), Expo 2025 Osaka will be held for six months in 2025, following its opening on 13 April.

Fujimoto has designed the wooden ring as a contemporary interpretation of traditional Japanese timber construction, such as that used to construct the Kiyomizu-dera temple in Kyoto.

It will have a diameter of 700 metres and a circumference of two kilometres, which will form the main circulation route for the masterplan.

While incorporating walkways, the structure will double as a shelter from rain and sun, as well as a rooftop observation deck with seasonal landscaping.

On the ground inside the wooden circle, the Expo 2025 Osaka site will be scattered with pavilions designed by architects for participating nations.

These will be divided across three zones, named Pavilion World, Water World and Green World, alongside a series of plazas to hold events.

The first Expo 2025 Osaka pavilion to be revealed on Dezeen is one designed by Shigeru Ban, recently shared in exclusive images.

The undulating pavilion will be built from paper tubes, bamboo and carbon-fibre-reinforced plastic.

The global World Expo exhibition takes place every five years. The previous edition was Expo 2020 Dubai, which was actually held in 2021 due to the coronavirus pandemic.

It featured pavilions by world-renowned studios including Santiago Calatrava and Foster + Partners.

The visuals are courtesy of Sou Fujimoto Architects. 

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For our latest lookbook, we spotlight eight contemporary kitchens that centre on islands with waterfall countertops made from concrete, stone and chunky terrazzo.

As its name suggests, a waterfall edge is a style of kitchen island or cabinet where the countertop appears to flow seamlessly from the surface to the ground.

The feature, also known as a mitred end, is popular in contemporary kitchens as it is an easy way to create a focal point while retaining a sleek, pared-back aesthetic.

As revealed by this lookbook, they are particularly impactful when made from materials such as marble and concrete, which give rise to sculptural, monolithic centrepieces.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring living rooms with striking art pieces, colourful bedrooms and living rooms with cowhide rugs.

Botaniczna Apartment, Poland, by Agnieszka Owsiany Studio

Agnieszka Owsiany Studio draped travertine over a series of oak cupboards to form this kitchen island. The wood helps accentuate the warm tones of the stone, which the studio chose because of its soothing and timeless qualities.

"I really wanted to create something timeless, hence the idea to use materials such as wood and travertine which age beautifully and hopefully won't be replaced within many years," said the studio's founder Agnieszka Owsiany.

Find out more about Botaniczna Apartment ›

Sunderland Road, UK, by 2LG Studio

Sky-blue cabinetry offers a calm backdrop to the bold waterfall countertop in this kitchen, designed by 2LG Studio.

Made of white marble with grey veins, it extends over both ends of a wood-clad kitchen island and incorporates a hob for cooking. The countertop was paired with pink bar stools and is illuminated by a Cherry Pendant light by designer duo Daniel-Emma.

Find out more about Sunderland Road ›

Lake Geneva Residence, USA, by Collective Office

Concrete was used to form the mitred end of this kitchen island, creating a centrepiece that juxtaposes the light and natural look of its wood-lined surroundings.

It is complemented by matching concrete countertops on the adjacent wooden cabinets and incorporates a sink within its surface.

Find out more about Lake Geneva Residence ›

Montauk House, USA, by Desciencelab

A black countertop overrides the wood-lined base of this central unit, found in the kitchen of a gabled house in Montauk, recently overhauled by Desciencelab.

Standing out against the surrounding wooden cupboards, it helps to demarcate the food preparation area within the open-plan room, which also contains the dining and living areas.

Find out more about Montauk House ›

Paseo Mallorca 15 Apartments, Spain, by OHLAB

This clean-cut stone island is located in the light and airy interior of an apartment in a housing block in Mallorca.

Its minimalist aesthetic was paired with a more tactile material palette of rough plaster, dark wood and rustic fittings in the rest of the home, which OHLAB chose as a reflection of its Mediterranean setting.

Find out more about Paseo Mallorca 15 Apartments ›

Family Home Zwaag, Netherlands, by DAB Studio

The sculptural waterfall countertops in this kitchen are formed from striking Arebescato Orobico marble.

Its earthy brown and grey tones are enhanced by the warm colours of the surrounding Afromosia wood joinery and oak ceilings and floors, which form part of DAB Studio's wider "calm yet soulful" material palette.

Find out more about Family Home Zwaag ›

Glyn House, UK, by Yellow Cloud Studio

Oversized chunks of colourful aggregate were used to create the terrazzo finish of this statement kitchen unit, which is located in Glyn House by Yellow Cloud Studio in London.

Its waterfall edge conceals a series of black-painted drawers with silver handles and helps to "intensify the experience of raw, handmade surfaces" throughout the interior, the studio said.

Find out more about Glyn House ›

Loma Residence, Mexico, by Esrawe Studio

Curved sides and mitred ends soften the look of this monolithic kitchen island, which Esrawe Studio created as part of its remodelling of an apartment in Mexico City.

The unit sits in the centre of the home's kitchen and was formed from a striking green-toned granite that pops out against its neutral surroundings.

Find out more about Loma Residence ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring living rooms with striking art pieces, colourful bedrooms and living rooms with cowhide rugs.

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Pritzker Architecture Prize-winning architect Shigeru Ban has created a prototype for a temporary house that he plans to roll out in Morocco following this month's devastating earthquake.

The structure is the latest iteration of Ban's Paper Log House model, which he developed as a quick-to-construct and affordable shelter for victims of natural disasters.

Paper Log House was created by Shigeru Ban Architects with Voluntary Architects' Network, the non-governmental organisation (NGO) that he founded in 1995.

It is to be rolled out in Morocco following the 6.8-magnitude earthquake on 8 September, which claimed over 3,000 lives and caused significant damage to buildings including schools and heritage landmarks.

 

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The prototype was installed at the National School of Architecture of Marrakech

In an Instagram post, VAN shared images of the prototype's construction, revealing the use of cardboard tubes – a feature that gives the structure its name.

It is currently on show at the National School of Architecture of Marrakech, with which Ban's team collaborated on the build.

The cardboard tubes form the columns of the Paper Log House, supporting prefabricated wooden panels that are arranged to form the walls, floor and roof. These elements were raised above ground on a base formed of plastic beer crates filled with sandbags.

Ban presented the project yesterday at the National School of Architecture of Marrakech, where he also gave a lecture to share his expertise in providing disaster relief.

He remains in Marrakech today with the aim of visiting and assessing areas affected by the disaster and identifying potential sites to install the structures.

Ban has been working on sites of natural disasters for over 30 years and he established VAN in 1995 to support his disaster-relief projects.

The Paper Log House model was originally created in the wake of the Great Hanshin earthquake in 1995 in Kobe, Japan, and has recently also been installed in Antakya for use as a school building following the 2023 Turkey–Syria earthquake.

VAN is also known for its Paper Partition System that offers privacy to people living in temporary shelters. Similarly to Paper Log House, it makes use of cardboard tubes and is designed to be quick and cheap to construct.

It was recently installed across temporary shelters in Europe housing Ukrainians fleeing the Russian invasion, as well as in accommodation for victims of the Turkey-Syria earthquake.

Following the quake in Morocco earlier this month, UNESCO said it is supporting local authorities in its efforts to rebuild schools and heritage landmarks.

The photography is courtesy of Shigeru Ban Architects.

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A lamp made of volcanic rock and a cork chair are among the products exhibited at Lake Como Design Festival that make use of unconventional materials.

The products all form part of the Contemporary Design Selection show, which is on display at the neoclassical Villa Salazar until the end of the festival on 24 September.

Curated by Giovanna Massoni, the show aligns with this year's overriding theme of Natural History, which pays homage to the explorations of naturalist Pliny the Elder on the 2,000th anniversary of his birth in Como.

"The objects we will present in this edition will contribute to creating an anthology of narratives that narrate the transition towards a world of change," said Massoni.

Each of the pieces in this roundup and wider exhibition is now up for sale with the collectables auction platform Catawiki, a partner of Lake Como Design Festival.

Read on for seven uses of unconventional materials at the festival:

Monk Chair by Cedric Etienne

Slabs of charred cork were combined to form the monolithic Monk Chair, designed by Belgian designer Cedric Etienne. According to Etienne, "proportion is the only ornament".

A natural and renewable material, cork is becoming increasingly popular in architecture and design, but it is more commonly seen in the form of cladding panels or building blocks.

Monk Chair can be found in the Still Room, a quiet space for contemplation curated by Etienne, which also features a matching brown meditation cushion.

Plinio Lamp by FMM Design

One of Contemporary Design Selection's most unusual displays is the Plinio Lamp by Italian studio FMM Design. It was crafted from steel and covered in basalt, a type of black volcanic rock.

The cloud-like lamp was handmade to evoke a pyroclastic flow – the fast flow of hot gas and volcanic material in an eruption. A bulb is hidden within its top, while it is mounted on a base of blocky basalt.

According to FMM Design, it is a nod to a legend that Pliny the Elder died in the eruption of Mount Vesuvius in AD 79.

Sarasara by Genevieve Levivier

In architecture and design, hemp fibres are usually used for cladding or insulation. Here, designer Genevieve Levivier used them to create the delicate Sarasara textile.

The fibres were combined with polylactic acid (PLA), a natural polymer derived from renewable sources such as starch, in this case taken from food and agricultural waste.

Levivier created micro-perforations in the textile with a laser, which makes its surface vary in depth. The outcome is a soft and tactile piece that draws on natural landscapes.

Redemptio by Pulpas Studio

Spanish designer Pulpas Studio gave new life to non-biodegradable acrylic partitions once used to prevent the spread of Covid-19 when creating Redemptio.

The glass-like side table was formed from a single folded piece of recycled polymethyl methacrylate (PMMA), otherwise known as acrylic, and finished with a subtle pink hue.

Riflessioni Cielo-Mare by Giovanna Latis

Riflessioni Cielo-Mare is a tapestry crafted from i-Mesh, a textile that can be formed from various natural fibres and man-made yarns. It is intended primarily for use as an architectural surface material and is manufactured by a company of the same name.

The specific fibres used in this product were obtained from basalt and fibreglass, as well as a man-made version called Technora, which i-Mesh claims is eight times as strong as steel.

Designed by Italian architect Giovanna Latis, the tapestry is one of several at Lake Como Design Festival showcasing the potential of i-Mesh. Nearby in the Stories of Fabrics exhibition, Japanese architect Tomo Ara also exhibited an ornate tapestry made from the material.

Giraffa Alta by Jonathan Bocca

Paper waste sourced from Lucca was used to create this giant papier-mache lamp, which is modelled on the form of a giraffe.

It was designed by Italian designer Jonathan Bocca following three years of research into paper recycling, upcycling of industrial waste and "anti-extractivist materials".

It is being exhibited at the Contemporary Design Selection show alongside a matching pink coffee table, which was also made of papier-mache and forms part of a collection called Restless Objects.

Knoturalia by The New Raw

The intricate, looping surfaces of these vases were informed by traditional knitted fabrics but are actually crafted from 3D printing with plastic waste.

According to their designer The New Raw, they were the result of an "ambition of giving new life to waste materials through design, robots and craftsmanship".

The studio also recently used plastic waste to create play furniture, which is among those to have been longlisted in the Dezeen Awards 2023 sustainability category.

The photography is by Lizzie Crook unless stated otherwise. 

 Contemporary Design Selection is on show at Lake Como Design Festival from 16 to 24 September 2023.  See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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UNESCO director Audrey Azoulay has said that the organisation will support Morocco in its efforts to rebuild schools and heritage landmarks damaged by this week's earthquake.

"Morocco will be able to count on the solidarity of the UNESCO," Azoulay wrote on X, the social media platform formerly known as Twitter.

"Our organisation will support the Moroccan authorities to inventory the damage in the areas of heritage and education, make the buildings safe and prepare for reconstruction."

On Friday 8 September, a 6.8-magnitude earthquake struck Morocco, claiming the lives of at least 2,901 people and injuring 5,530 – making it the country's deadliest quake since 1960.

The earthquake also tore through several important historic structures in UNESCO World Heritage sites and towns in the foothills of the Atlas Mountains and the city of Marrakech.

UNESCO visited sites to assess damage

Among the sites to be severely damaged are the medieval medina in Marrakech, which became a UNESCO World Heritage site in 1985, and the town of Ouarzazate to the south of the High Atlas mountains, which was added to the list in 1987.

The day after the quake, UNESCO visited these sites to assess the extent of the damage.

Tout mon soutien au peuple marocain après ce terrible séisme qui a fait tant de victimes et de dégâts. J'ai aussi une pensée pour les participants de la Conférence @GlobalGeoparks qui se tenait au même moment à #Marrakech. Le #Maroc pourra compter sur la solidarité de l'@UNESCO.

— Audrey Azoulay (@AAzoulay) September 9, 2023

Among its most notable observations were that the minaret of Kharbouch mosque on Jemaa el-Fna Square in the medina has been almost completely destroyed, while several houses in the old Jewish quarter of the Mellah neighbourhood have collapsed.

Meanwhile, several buildings in Ouarzazate have been cracked, with a communal granary that looks over the town seriously affected.

The Tinmel mosque in the High Atlas Mountains is another building to have also been almost entirely destroyed. The landmark, described by UNESCO as "an important site", is on the national Tentative World Heritage List.

"More than half a thousand schools" damaged

The mission also found the damage to education buildings to be "a cause for concern", UNESCO said.

"The earthquake affected a particularly rural and isolated area, encompassing a school population of around one million pupils and a teaching staff of more than 42,000 professionals," it wrote in a statement.

 

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One of the main reasons the earthquake has been so deadly is because of the damage caused to buildings.

However, in the modern parts of Morocco struck by the quake, the damage has been minimal thanks to their earthquake-proof structures.

Modern parts of Marrakesh unscathed 

According to a report by news channel CNN, in modern parts of Marrakesh, cafes and restaurants "were getting ready to open on Sunday morning".

The subject of earthquake-proof architecture was also in the spotlight earlier this year following the 7.8-magnitude Turkey–Syria earthquake on 6 February.

At the time, Turkish architects told Dezeen that the scale of destruction caused by the earthquakes was exacerbated by poor construction and a disregard for legislation.

Following the quakes, authorities in Turkey issued arrest warrants for people with ties to buildings that were destroyed.

In an opinion piece following the devastating event, founder of Worldchanging Institute Cameron Sinclair said "earthquakes don't kill people, bad buildings do".

The main photo shows the earthquake impact near the epicentre in Imi N'Tala by alyaoum24 via Wikimedia Commons.

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Landscape studio Scape has won the Obel Award for 2023 for its "visionary" coastal defence system in New York City that will grow in efficiency as oysters inhabit it.

Named Living Breakwaters, the project was designed by Scape to reduce flood risk and boost ecology along Staten Island, serving as an alternative to traditional coastal barriers.

It is the fifth winner of the Obel Award, which celebrates architectural contributions to people and the planet. This year's theme is adaptation.

Living Breakwaters is a linear stretch of stone and concrete structures currently under construction in Staten Island, aiming to help calm the water and reduce coastal erosion.

However, these structures are also "ecologically enhanced", meaning they incorporate ridges and grooves that encourage marine wildlife to inhabit them and form an artificial reef spanning 223 square metres.

The main species it aims to attract is oysters, which will help the system grow denser as they reproduce and, in turn, improve its effectiveness as a defence barrier.

"The physical design of Living Breakwaters is an ingenious mix of natural and carefully modelled artificial elements that mimic naturally occurring reef formations in order to support marine life," read the Obel Award citation.

"Architecture must recognise its ecological and social responsibilities. Living Breakwaters does exactly that. As such, this relatively low-cost, low-tech response provides a seminal example of how to design not against but with nature in adapting to the changes that lie ahead."

Scape founder Kate Orff said that winning the prize "is really important for a project like this" as it serves as an encouragement for people to contribute and develop coastal adaptation projects.

She said it also serves as a reminder of the importance of designing for the planet as it grapples with the twin crises of climate breakdown and biodiversity loss.

"Our protective natural systems are in various stages of decline globally, and in order to repair them, we have to think and design systemically to tie the pieces back together," said Orff.

"And that is an incredibly bold, creative act. Hopefully, this award can emphasise this point: that nature is a matter of design now and that we have to work fast and work together."

Living Breakwaters was initially developed by Scape for Rebuild by Design – a competition held by the US Department of Housing and Urban Development in the wake of Hurricane Sandy.

Alongside the breakwaters, the project has involved nearly a decade of educational programmes to encourage community stewardship and recreation along Staten Island. The project is scheduled to be completed in 2024.

American landscape architect Martha Schwartz, who served as chair of this year's Obel Award jury, hailed Living Breakwaters as "visionary".

"[It] will not only protect humans and revitalise the coastline of New York City but also restore lost marine biodiversity," Schwartz explained.

"This is a visionary project that tackles the full task of adaptation, and which has the capacity to inspire and to positively impact vulnerable shorelines worldwide."

Scape will receive its Obel Award at a ceremony at the Sydney Opera House on 21 October 2023. The prize is €100,000 as well as a trophy made by artist Tomás Saraceno.

Previous winners have included scientist Carlos Moreno for his urban strategy the 15-Minute City and British company Seratech for its carbon-neutral concrete prototype.

The photography is by Scape.

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The Créateurs Design Association & Awards has named Mexican architect Frida Escobedo as the recipient of Le Prix Charlotte Perriand for 2024.

Escobedo was named the winner for next year in recognition of her "daring concepts" and for "ushering in a new era of architecture", said Créateurs Design Association & Awards (CDA).

She is the third-ever laureate of the annual prize, otherwise known as the Charlotte Perriand Award, which spotlights trailblazers in the field of architecture and design.

It was kickstarted by CDA in 2021 to honour the legacy of French modernist Charlotte Perriand, after whom it is named.

"To find myself acknowledged by this remarkable jury is an honour that resonates deeply within me," said Escobedo.

"It serves as a testament to the enduring legacy of Charlotte Perriand, a legacy I am humbled and overjoyed to perpetuate."

Escobedo was born in Mexico City in 1979. She studied architecture at the Ibero-American University before completing her master's at the Harvard Graduate School of Design.

In 2006, she set up her eponymous Mexico City-based studio Frida Escobedo, where she has developed the varied oeuvre for which she is known today.

Among the 44-year-old architect's stand-out achievements is becoming the youngest Serpentine Pavilion architect in 2018.

This also marked the first time a solo woman had taken on the project since the inaugural commission by the late Zaha Hadid in 2000.

Other key projects by Escobedo include the conversion of the former home of painter David Alfaro Siqueiros into a public gallery, low-cost housing in Hidalgo and an Aztec-inspired installation for the V&A.

She was also recently selected by the Metropolitan Museum of Art in New York to design the Oscar L Tang and HM Agnes Hsu-Tang Wing, which had previously been assigned to David Chipperfield Architects.

A common thread throughout her portfolio is the use of simple materials and forms, such as mass-produced cement roof tiles or perforated concrete blocks.

"I think my approach to architecture is that simple forms work the best and that simple materials can express very sophisticated atmospheres," Escobedo told Dezeen in 2019.

"So it's not necessary to have like a very luxurious material in order to achieve a very sophisticated feeling or mood around it."

CDA said Escobedo's "portfolio showcases an exceptional ability to seamlessly blend form and function".

"We are thrilled to bestow Le Prix Charlotte Perriand upon Frida Escobedo," concluded CDA co-founder Yuri Xavier. "Her work exemplifies the qualities that this award seeks to recognize – boldness, innovation, and a commitment to shaping the future of design."

The annual CDA award program celebrates achievements across the fields of architecture, interior design and product design, as well as journalism, curation and photography. ​

Escobedo will receive Le Prix Charlotte Perriand during the upcoming Créateurs Design Awards ceremony, which will take place in Paris on 20 January 2024.

According to the CDA, the award marks the first time that Perriand's family has allowed her name to be used beyond her own work after her death in 1999.

Perriand is best known for her furniture designs and collaborations with the likes of French architects Le Corbusier and Jean Prouvé during the mid-twentieth century.

Last year's winner of the prize was Jeanne Gang, director of US firm Studio Gang, who was celebrated for her design of Aqua Tower, which was once the tallest woman-designed building in the world.

The portrait of Escobedo is by Karla Lisker.

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Nineteen neighbourhoods constructed with local materials will define Sultan Haitham City, a metropolis for 100,000 residents that London studio Skidmore, Owings & Merrill is designing in Oman.

Skidmore, Owings & Merrill (SOM) is developing the city to accommodate the growing population of locals, expats and tourists living in and visiting the capital Muscat.

Sultan Haitham City will comprise 19 neighbourhoods over 1,480 hectares of undeveloped land in Al Seeb, a suburb of greater Muscat.

It will introduce public spaces and more than 20,000 new homes while tying in with a new mass transit system that is set to improve connectivity along the country's coastline.

"Sultan Haitham City is designed to enhance the existing district of Al Seeb," SOM's senior associate principal Bernhard Rettig told Dezeen.

"It helps to provide existing residents with new social amenities and significant public space whilst also providing new residences for Oman's growing population."

SOM was commissioned for Sultan Haitham City by Oman's Ministry of Housing as part of Oman Vision 2040, a vision aimed at keeping "pace with regional and global changes".

According to Rettig, key elements of the design brief included recognising Oman's "cultural and architectural heritage", while designing contemporary built forms for the city.

To achieve this, SOM is prioritising the use of local and natural materials for the project, all with a neutral colour palette, to blend in with Oman's architectural heritage.

Another driver for Sultan Haitham City is to ensure the city is resilient to climate change, in light of the increasing strength and frequency of seasonal flood events in the region.

The masterplan involves transforming a 7.5-kilometre-long dry river, or wadi, into a public green park that can hold water in severe flood events.

"Our urban planning team recognised the natural water flows on the site presented a very serious risk of flooding but could also form an opportunity to harness and capture water, the region's most precious resource," said Rettig.

According to SOM, Sultan Haitham City is also being designed as Oman's "first-ever smart city". However, Rettig clarified that this does not mean making use of technologies that are yet to emerge.

"We often think of smart cities as distant visions of the future incorporating technologies that have yet to be invented or fully realised," he said. "However, Sultan Haitham City is a smart city with technologies and sustainable strategies that are deployable today."

Among its smart-city features will be "advanced traffic management systems" that rely on real-time traffic data from cameras and speed sensors to improve congestion and efficiency of public transportation.

Sultan Haitham City is also being designed to safely accommodate e-bikes and e-scooters to reduce car dependency.

"By rejecting the typical car-centric way in which cities in the Middle East are often designed and, instead, prioritising sustainable modes of transportation, the new city will help to promote less dependency on cars and more walking," said Rettig.

Passive design strategies will also be employed throughout the city, with details such as arranging streets and plazas to optimise shading and maximise natural cooling breezes, alongside renewable energy technologies and solar power.

SOM, an international architecture studio founded in 1936, is currently also developing Alárò City, an extension to Lagos aimed at creating "tens of thousands of jobs", and a new capital for Egypt to relieve congestion in rapidly growing Cairo.

Another recent proposal for an upcoming city is California Forever, a controversial proposal led by Silicon Valley investors that could transform over 50,000 acres of farmland in Solano county.

The visuals are by ATCHAIN courtesy of SOM.

Project credits:

Architect: SOM
Engineer: Meinhardt Group
Landscape: MT Planners
Consultant: EIDC Oman

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