anchorGOLD AWARD Commercial/Industrial winner: mehr* architekten's Brewery Hall Kirchheim unter Teck. Photo: Sebastian Schels

This years best architects 23 competition has announced its annual list of winning projects that have distinguished themselves for their abundant creativity and unconventional solutions to real-world challenges felt by practitioners worldwide.

A total of 71 European (and one Asian) projects made the list, with another 8 being named to the gold category. With such a variety of approaches, it was difficult to discern a dominant design trend, the jury noted. The winning projects stand out not so much for their style but rather for the strategical considerations and relish in experimentation they express.

A publication featuring each winning design will be released in early fall.

The period we are living in is one of questions and interrogations, juror Daniel Zamarbide said in a statement. Many of the pillars that we have taken too much for granted and have constructed in society seem to be tumbling down, even falling apart. These pillars that are collapsing are potentially a good metaphor for what goes on in the architectural milieu. We might not need those pillars anymore. Or we might like to work with other ones, more fragile, less imposing, less patriarchal.

This is the awards sixteenth edition overall as well as the seventh since it was expanded to include non-German-speaking countries in 2015. The next cycle begins again in January 2023. Scroll down to see a selection of the winning designs.

GOLD AWARD Residential Multi-family winner: Jaeger Koechlin's Coming Going and Staying. Photo: Roman Keller.

Residential Multi-family

GOLD AWARD

Jaeger Koechlin - Coming Going and Staying - Basel, CH

Edelaar Mosayebi Inderbitzin Architekten - Narzissenstrasse apartment house - Zurich, CH

GOLD AWARD Residential Multi-family winner: Edelaar Mosayebi Inderbitzin Architekten's Narzissenstrasse apartment house. Photo: Roland Bernath.

AWARD

Phillipe Meyer - Habitation collective -Genf-Vernier, CH

Schoch Tavli Architekten - Villa Rose apartments -Hauptwil, CH

Michael Meier und Marius Hug Architekten - House on Belt Walk - Zurich, CH

Pool Architekten - Eggbhl-Areal - Zurich, CH

LIN.ROBBE.SEILER -La Gradelle housing - Cologny, CH

Ltolf und Scheuner Architekten - Schweighofpark AG apartment house, Schweighof - Kriens, CH

Ltolf und Scheuner Architekten -St. Anna Foundation apartment houses, Schweighof -Kriens, CH

Fruehauf, Henry & Viladoms - Boveresses Housing -Lausanne, CH

Haefeli Architekten - Fischer multi-family house -Dttingen, CH

Hurst Song - Apartment building in Untervaz -Untervaz, CH

DF_DC - Via Carona 6 -Paradiso, CH

Burkard Meyer Architekten - BreTower, Ostermundigen - Bern, CH

Bayer & Strobel Architekten - KURT 2.0 social housing in Wolfsburg -Wolfsburg, DE

Anne Hangebruch Mark Ammann Architekten - A townhouse in Lbecks founding quarter -Lbeck, DE

AWARD Residential Single-family winner: Camps Felip ARQUITECTURIA's HO16. Photo: Jose Hevia

Residential Single-family

AWARD

Lionel Ballmer Architects - Small House - Haute-Nendaz, CH

Marte.Marte Architekten - House of Chambers -Feldkirch, AT

Inches Geleta - Zanini Porta House -Locarno, CH

LP architektur - Herzgsell single-family house -Altenmarkt, AT

9graden architectuur - House Lichtenberg -Amersfoort, NL

Camps Felip ARQUITECTURIA - HO16 - Girona, ES

D+S Heim Architetti - casa H -Tegna, CH

Giuliani Hoenger Architekten - Surber-Burri-residence -Regensberg, CH

ROBERT MAIER ARCHITEKTEN - Black Trinity - Gauting, DE

schi.ke architektur - House for M -Landquart, CH

Pedevilla Architects - House G -Gossensa, IT

Montemurro Aguiar Architetti - Casa in collina - Comano, CH

Uli Mayer Urs Huessy Architekten - Gapont - Triesen, LI

Schneider & Schneider Architekten - Split-Level Homes Aarau - Aarau, CH

GOLD AWARD Education Buildings winner: Roman Sigrist Architektur's Trachslau schoolhouse. Photo: Gauch & Schwartz.

Education Buildings

GOLD AWARD

Roman Sigrist Architektur - Trachslau schoolhouse - Trachslau, CH

AWARD Education Buildings winner: SPREEN ARCHITEKTEN's Ulm University of Applied Sciences. Photo: Imanuel Schnabel

AWARD

Reichel Schlaier Architekten - Daycare centre Jgerhalde - Stuttgart, DE

Wulf Architekten - Canteen and media centre, Darmstadt - Darmstadt, DE

V-architekten - Zweiburgenschule Weinheim - Weinheim, DE

SPREEN ARCHITEKTEN - Ulm University of Applied Sciences - Ulm, DE

PSA Pfletscher und Steffan-Architekten - Sports hall at the Edelweiss barracks Mittenwald - Mittenwald, DE

Hermansson Hiller Lundberg Arkitekter - Sporrsmeden Preschool - Markaryd, SE

Hermansson Hiller Lundberg Arkitekter - Eldstaden Preschool -Falkenberg, SE

Burkard Meyer Architekten - Kerenzerberg Sports Centre, Filzbach -Filzbach, CH

GOLD AWARD Public Buildings winner: Carlana Mezzalira Pentimalli's Public Library of Bressanone. Photo: Marco Cappelletti

Public Buildings

GOLD AWARD

Carlana Mezzalira Pentimalli - Public Library of Bressanone - Bressanone, IT

Rapin Saiz Architectes - Clos Bercher psychosocial care centre -Bercher, CH

AWARD

Atelier Pulver Architectes - Nautical Center - Nant, CH

Atelier ST - Goettingen Art Gallery - Gttingen, DE

Brckner & Brckner Architekten - Living memory | New town archive in Oberviechtach - Oberviechtach, DEWaadt

Hermansson Hiller Lundberg Arkitekter - Roedeby Care Home - Karlskrona, SE

Schoch Tavli Architekten- Holdergarten care home -Obersommeri, CH

Soppelsa Architekten - Dual gymnasium Oberrueti - Oberrti, CH

Steimle Architekten - Bauhaus UNESCO World Heritage Visitor Centre Bernau -Stuttgart, DE

Wolff Obrist architectes - La Sylvabelle Psychiatric Nursing Home - Waadt, CH

GOLD AWARD Public Buildings winner: Rapin Saiz Architectes' Clos Bercher psychosocial care centre. Photo: Jol Tettamanti

Other Buildings

AWARD

DEMOGO studio di architettura - Bivouac Fanton - Forcella Marmarole, IT

Sturm und Wartzeck - National Park Centre Ruhestein Black Forest - Ruhestein pass, DE

AWARD Public Buildings winner: Steimle Architekten's Bauhaus UNESCO World Heritage Visitor Centre Bernau. Photo: Brigida Gonzlez

Infrastructure Buildings

AWARD

BAYER STROBEL ARCHITEKTEN - Fire and rescue station Wiesbaden-Igstadt - Wiesbaden-Igstadt, DE

MAK architecture - CAD-Orbe - Orbe, CH

mohr architekten - Neulengbach Stadt stop -Neulengbach Stadt, AT

AWARD Commercial/Industrial Buildings winner: G8A Architects and Rollimarchini Architekten's Tropical factory Saigon. Photo: Oki Hiroyuki

Commercial/Industrial Buildings

GOLD AWARD

mehr* architekten - Brewery Hall Kirchheim unter Teck -Kirchheim unter Teck, DE

AWARD

Johannes Kaufmann und Partner Carpentry - Kaufmann -Reuthe, AT

Ludloff Ludloff Architekten - ophelis exhibition hall -Bad Schnborn, DE

G8A Architects and Rollimarchini Architekten - Tropical factory Saigon - Saigon, VN

GOLD Award 's Office/Administrative Buildings winner: jessenvollenweider's Office for Environment and Energy, Basel. Photo: Philip Heckhausen

Office/Administrative Buildings

GOLD AWARD

jessenvollenweider - Office for Environment and Energy, Basel - Basel, CH

AWARD

LIN.ROBBE.SEILER - The Global Fund Headquarter, Geneva - Geneva, CH

Schulz und Schulz - DBFZ German Biomass Research Centre - Leipzig, DE

GOLD AWARD Renovation and Addition winner: Residential and commercial building Neustadtstrasse, Lucerne. Photo: Ariel Huber

Renovation and Addition

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Take a look at the 71 new projects named 'best architects 23' award winners - Archinect

The 123-room Ace Hotel has opened in Toronto, designed by acclaimed Canadian practice Shim-Sutcliffe Architects, recipients of the 2021 RAIC Gold Medal. Located in the citys Garment District, the hotel adopts what the team calls a robust, solid architecture with a material palette including brick, concrete, steel, and oak.

The 14-story buildings exterior is clad in red brick a statement of resistance against recent thin and glassy developments in the area, according to the team The main entrance is marked by a sweeping undercroft detailed in brick, concrete, copper, and wood, while oversized glass windows bring views and natural light into the interior.

Inside, the lobby features a series of poured-in-place, steel-edged concrete structural arches. Each frame terminates with an oversized industrial steel knuckle that transfers the load of the floors above from the arches to the foundations. Up close, the arches retain a textural timber grain created by the wood formwork used to pour the arches. From this structure, slender steel rods are hung to support the floating red oak-lined spaces that form the lobby.

Intended to feel as if it were slipped into an existing structure, blurring the sensation of time, the lobbys suspension creates the sensation of levity within the massive, muscular space, the team says. The lobby flooring is end grain Douglas fir, a nod to industrial fabrication that is echoed above in the guest suites entrance vestibule flooring.

Perhaps the most striking space within the entrance area is the Lobby Bar. Nestled between the concrete arches, the bars floorplate is suspended off the ground and hung from the arches by steel rods; a condition the team likens to a wooden tray. The bar is furnished in white glazed brick, complimented by red oak, bespoke opaque plexiglass lighting by Shim-Sutcliffe, and vintage furniture.

The hotels 123 guest rooms have been designed to evoke the comforting pleasures of a wilderness cabin retreat using local materials such as canvas, wood benches, Douglas fir paneling and flooring, and custom, vintage furnishings. The threshold between the wilderness and the city is broken by the rooms window benches. Designed by Atelier Ace and Shim-Sutcliffe, the window seats create nook-like spaces typical of wilderness cabins but with views towards busy urban and green spaces.

Other spaces within the hotel include Alder, a restaurant on the ground floor whose half-buried location under the lobby creates a collection of triple-height and single-height spaces. Dining areas are inserted between the grounding of the hotels dominant concrete arches, contrasted by a warm material palette of brick, copper, and black wood.

Elsewhere, light, open, expansive event spaces on the upper levels form a counterpoint to the low-lit, intimate spaces on the ground floor. Such event spaces include FORM, a 1,500-square-foot private space perched above the lobby, and FLOW, a 500-square-foot gathering space featuring a Japanese garden-inspired outdoor terrace.

The scheme is topped by a rooftop bar featuring indoor and outdoor lounges anchored by two massive brick fireplaces. Designed by Atelier Ace, the bar prioritizes warm interior design elements, including earthly shades of mossy green and terracotta, while the outdoor deck faces westwards to capture views of Torontos skyline.

"The architectural magnificence of Shim-Sutcliffe Architects work has created a bona fide wonder," remarked ACE Hotel Group CEO Brad Wilson on the hotels opening. "They have built an inherently civic space that respects the neighborhoods storied past while nurturing its future."

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Inside the 'robust' new Ace Hotel Toronto by Shim-Sutcliffe Architects - Archinect

Introducing automation into your organization extends well beyond a binary decision it is a journey. At Fluency, we believe that a dedicated role, an Advertising Architect, is crucial to managing the initial journey, and refining the overarching possibilities thereafter.

The digital advertising world has gone through a tremendous shift over the last few years. The number of available platforms has grown. The amount of data and customization to leverage has expanded. Meanwhile, consumer behaviors are changing far faster than anyone can make reasonable predictions about.

For most in this industry, it seems like the technology is now starting to outpace the traditional agency structure. For a time it seemed like the solution was just to simply start hiring though look at any job board today, and you get the sense that there are more open positions out there than people looking for them.

The answer, at least the way we see it here at Fluency, isnt about hiring its about ensuring your organization is identifying and realizing new operational efficiencies, while your existing talent is upskilled to do the things they are good at. That is why you hired them, right?

At Fluency we believe that embracing Robotic Process Automation (RPA) is a crucial strategic mechanism as you push to evolve your organization into the future. From exploring new data sets and connections, to updating existing business processes, and again, upskilling your people the potential benefits cascade across a great deal of your organization. For example, an account managers talents cant really shine if theyre stuck moving things around in a spreadsheet or babysitting ad spend in a campaign manager all day.

Automation, however, is not a plug-and-play solution. Introducing automation into an organization works best when theres someone whos responsible for that transition. Someone who not only intimately knows what automation can do, but also knows what automation can do for that specific company. At Fluency, we call this person an Advertising Architect.

What does an Advertising Architect do? First, they talk to decision-makers at every level from the associates all the way up to the CEO to gain a holistic understanding of the organizational strategy, operational goals, processes, and underlying pain points. This helps the Advertising Architect develop an approach that impacts the business from the top level, and driving efficiencies through to benefit everyone, not only those focused on digital advertising.

With that full-stack understanding of how their organization works, and how automation should work for them, the Advertising Architect then shifts to managing their companys automation journey. That means working closely with teams to help them better utilize the time that automation has given back to them, recognize what their true human strengths are and help drive bigger conversations around not just organizational efficiency but also ones of purpose and mission.

It sounds high-minded, but heres what it could look like in practice. The Advertising Architect first engages the CEO to familiarize themselves with the strategic vision of the company as it relates to products, go-to-market strategy, competitive differentiation, data resources, and other crucial elements. From there, the Ad Architect begins to stitch together a vision that can now connect all of the disparate parts of the organization (ad ops, operations, finance, business units etc.) on the back of automation. Next, they sit down with the COO and CFO to strategize around operational efficiencies and how certain actions will support overall profitability. Further on down the line, the Advertising Architect works with the digital advertising managers and strategists to develop ways in which automation can transform employee capacity and reshape the dynamics of work-life balance. The ecosystem quickly becomes interconnected and supported by a unified Strategy, People, and Technology.

Using Fluencys RPA software, the Advertising Architect automates away the busywork around things like budget management and insertion orders, and suddenly account managers now have anywhere between 7 to 15 hours of extra time every week. So whats the best use of all that extra human capacity?

Maybe you want to differentiate your agency by enabling your account managers to take that time and put it back into more collaboration with their clients. Perhaps you could use this opportunity to rapidly scale your business and take on more clients,confident in the knowledge that with automation, new accounts wont require a big increase in headcount. Another option? You recognize that the true competitive edge in todays market is the ability to empower and retain your existing talentand so you entrust your account managers to decide how best to take advantage of their new bandwidth.

This is the transformative power of automation when managed by an Advertising Architect. Its not just removing the busywork, but getting your organization to the place where you can have meaningful high-level discussions about the best ways to use your time and talents.

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Sponsored post: Why your digital strategy needs an 'Advertising Architect' - TechCrunch

One of the many facets that has made the Dallas Museum of Arts Cartier and Islamic Art: In Search of Modernity a blockbuster show is the exhibition design. At times its austere and ruminative, and then one turns a corner and enters an immersive gem world, courtesy of towering, super-high-resolution digital video screens. The interdisciplinary architecture and design studio Diller Scofidio + Renfrois responsible for the staging and video elements. The high-tech presentation heightens the curation of art and jewelry to be truly awe-inspiring.

Culture is intertwined with DS+R. The legendary firm has helmed the construction of art institutions such as the Broad and the Shed, and was behind the revitalization of New Yorks High Line, amongst many other projects that have in recent times reshaped cities and the art world. The DMAs senior curator of decorative art and design, Sarah Schleuning, worked closely with DS+R (the exhibit opened in May and runs through September 18). She was impressed with her collaborators.

Their goal was always about the object and getting people to look closer, she said. What they added was always in service of the narrative. The video components are particularly compelling. The exhibit is anchored by four rooms, each devoted to a solo magnificent Cartier piece flanked by behemoth 14-foot screens. Animated video of the jewelry zooms in, out, and around, giving attendees a look into the intricate universe hidden within.

The objective is to both look at carefully and to reflect on the artifact, said Elizabeth Diller, a partner in the namesake firm. Our main goal is not to override and supersede the artifact, but to have a dialogue. We chatted with Diller about her work on the run-up to the shows finale.

How did you first become involved with Cartier and Islamic Art: In Search of Modernity?

Weve had a long relationship with the Fondation Cartier in Paris, and weve done five installations in their galleries over the last 20 years. This came about out of our knowledge of each other and as a competition for the design of this exhibition in two locations. It would start at the Muse des Arts Decoratifs in Paris and then it would go to the Dallas Museum of Art. We had to imagine a cohesive structure and spatial narrative for both sites, which are radically different.

Islamic influences and perfection coalesce. Courtesy of Cartier.

I was unaware of Cartiers connections with Islamic art, how the founders grandson Louis was so inspired by the European exhibitions highlighting it. It affected not only his collecting but also shaped the houses designs. Were you familiar with these overlaps?

I always think that when Im learning something from scratch, it actually brings out the best work, because theres a big investment in thinking in a fresh way about something. I didnt really know about the history of Cartier and its associations with Islamic art. It was illuminating and there were no preconceptions coming in, so it felt very fresh.

Tell me about your approach.

The first point of inspiration was not only the content of the show and the curatorial narrative, but also the challenge of dealing with small artifacts in a gigantic space. This sort of mismatch led to the anatomy of the showplaying with extreme changes of scale between the jewelry and its smallness on the human body and the gigantic space. The jewelry in and of itself would just be lost in the space, so we created these very large-scale video analyses of the pieces that would engage the public in a way that was really engaging to us as architects. The relationship between the parts and the mechanisms, its like theyre little machines to be worn. It was fascinating to understand the detail and the connections, to be able to take the components and put them back together again in a way that was engaging and not overly nerdy.

Typically in an exhibition of artifacts, videos tend to be didactic in a bad way. Our hope was to produce these moments of exhale in this extraordinarily dense show to allow the public to see something at a different scale, so that they could actually look even more closely at the artifacts.

The videos by DS+R really unlock the fact that the exhibit isnt just exploring jewelry and the decorative arts, but also science and technology.

Thats an interesting point. We didnt get so much into the gems and the geological aspects, but we did get intoand this is very pertinent to the Islamic influenceabstraction, geometry, and the mathematical. The moment it goes from a drawing on paper to artifact, connections need to be made to conform to the human body and to drape, to respond to gravity. So, to get from geometry to jewelry, theres an aesthetic design component thats very technical. You miss all of that when you simply look at the beautiful necklace on someone, you know?

DS+R partner Elizabeth Diller. Photo: Geordie Wood, courtesy of DS+R.

Its interesting that you were drawn to the hidden and whats behind these jewelry pieces. I think most people would gravitate to the giant gems.

Those videos go from abstraction, from the pattern to the drawing of the piece into the materialization of it, and then take it apart anatomically, like you would a human body in terms of its systems, and then put it back together. Observing at a very large scale, you understand the incredible craftsmanship and the analytics that it took. I dont know how they did it. Trial and error? To figure out how to make these and how theyre worn and the way they drape and the way they moved with gravity.

I love the breathing necklace video! Unless one has handled high jewelry, its hard to convey the weight and mechanics.

Im not a jewelry person. I dont wear a thing. No rings, nothing. This was plunging into something unfamiliar. I have the same experience with opera, and I decided to do an opera. Its attacking the thing that for some reason youre staying away from.

A layman has a really important viewpoint to share. They can see whats fascinating about something and look in a different way.

Youre right. If you know too much, you miss some things that are very evident to the sort of unskilled mind, which could be fantastic. In many ways, I think we discovered things and we fell in love with some of these things, maybe for the wrong reasonsnot the original reasons for which they were intended, but, you know, because they are such fantastic artifacts of design.

Was there a particular piece that really moved you that stands out?

You know, the [1948 gold and diamond] breathing necklace. The reason why we focused on that one, in its flat state, you could see pure geometryabsolutely fractal, perfect geometry on this necklace. When you look at it from above, when its flat, you see a drawing, something very 2D, and then, you know, this human form emerges from the flatness and then takes the necklace with it, and it begins to mold around the human form and respond to the gravitational pull. Now you see it as a familiar thing, a necklace on a female body, and then it holds for a couple of seconds.

The grandeur of geometry. Courtesy of Cartier.

These are movements in two directions. In other words, its a compound curvature. So its not just curling in one way, which is very easy to do with hinges, but its moving in two directions. It goes back and forth from its flat condition to its anatomical condition. And when it comes back flat, it falls perfectly back into the geometry, not a kink anywhere. It was a complicated piece to make it look effortless.

You are wielding state-of-the art video and animation techniques, and then added to that is ancient Islamic art. Its humbling to compress this blur of centuries and cultures.

In a way, thats why the shows have been a success. This is a fairly esoteric topic for the general public. A different way of viewing through technology really helped. The curators insight was very important to us. These Islamic patterns are contemporary. There are pure geometries here. I saw it in a whole variety of artists from the 1960s onward working with geometric pattern and atmospherics in architecture that are a result of patterns, especially patterns that just extend outwardvery different from Western decorative arts.

These are almost frameless patterns that go on to make infinite atmospheres. Sol LeWitt was the very first thing I thought of when we started working on this. In Paris, we made this installation, and we basically took the patterns of some of the pieces in the show and reverse-engineered them into their abstracted lines. Then we added mirrors on all six surfaces of the gallery wall, extending the pattern to infinity.

Enter the intricacy: DS+Rs animation gives an up-close view of opulence at the DMA. Courtesy of Cartier.

You and your firm have worked on so many museums, such as Bostons Institute of Contemporary Art. Does designing these institutional spaces inform your exhibition concept?

Before we started designing museums, my partner Ric Scofidio and I were doing multimedia installations in galleries, independent work outside of the system of architecture as installation artist/architects. Then came some curatorial exhibitions, in parallel with starting our architectural practice. Sometimes we didnt have a lot of artifacts to work with, and we had to produce spatial experiences in the context of shows with large curatorial content. We really did this throughout our career, doing independent work in art spaces, shows, exhibition designeven while designing galleries and museums ourselves. It gives us more insight into needs and possibilities. We designed two shows at the Metropolitan Museum, Heavenly Bodies: Fashion and the Catholic Imagination and Charles James: Beyond Fashion.We recently had a show at the Jewish Museum. These are the things that we just love to do, and each one is a topic that we learned from scratch. Its just one of the parallel and interwoven elements of the work.

Did you ever have a eureka moment when you knew how you would approach the Cartier theme?

It all coalesced with this understanding of the radical scale difference. Without that, we wouldnt have a showwed be moving elements around and following the curatorial story, but we wouldnt have our own strategy for making decisions. With this realization, we could now see how you could tell different storieseven some of our own.

Later on we realized that we were the translators of translations. The Cartier designers didnt see the artifacts in the locations where they were made, but instead in curated shows. There were so many interpretations of interpretations. I saw it as one more creative act, taking this original material through multiple filters. And ours was the latest one on top of the curators.

The complex inner workings of a Cartier bandeau are projected next to the original. Courtesy of Cartier.

This also ties back to communicating through centuries and connection to the past, which is a reason why museums are so amazing.

Oh, absolutely. It was such an interesting thing to do, to be able to travel in time and space and the unexpected connections the show made to so many people.

You have such a large body of work. How does this Cartier project stand out?

Its hard to answer that. Each project thats a challenge stands out. There are so many scars along the way, painful but also rewarding. Something new came out of this I never would have expected. Because we had no preconceptions, we made something that we never dreamed we would have made.

Timeless necklaces on display at the DMA. Courtesy of Carter.

Cartier and Islamic Art: In Search of Modernity is on view through September 18 at the Dallas Museum of Art, 1717 North Harwood Street, Dallas, Texas.

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Architect Elizabeth Diller Has Built Museums From Scratch. Heres How She Brought a Major Cartier Exhibition to Life - artnet News

Alex Neil says Sunderland were the 'architects of their own downfall' as they crashed out of the Carabao Cup at the hands of League One Sheffield Wednesday. The Black Cats boss made 11 changes for the first round tie at Hillsborough, but it was the errors that led to the Owls' two goals that disappointed Neil.

Sunderland lost possession in the run up to the opening goal on the quarter-hour, with Dennis Adeniran scoring with a stunning strike. And then in the second half they were put under pressure as they played the ball around at the back and they again conceded possession, this time with substitute Sylla Sow left unmarked to apply the finish.

"I'm disappointed in the fact that I thought, to a certain extent, we were the architects of our own downfall," said Neil. "I don't think we got carved apart too often.

READ MORE: Sunderland were close to signing Nathan Broadhead - until the weekend changed everything

"Only really when we made the mistake for the first goal, we gave the ball away and the lad [Adeniran] chops it onto his 'wrong' foot and puts it into the top corner from about 30 yards. I thought seven or eight minutes after that was probably their best spell, really.

"We controlled the ball without threatening. We didn't have enough of a threat, but that's my responsibility and my burden - we had Jack Diamond who is a winger playing centre-forward, and we had Harrison Sohna who is a midfield player playing left wingback.

"The physical output that we put in the last two league games meant that I didn't want any of the lads who have been featuring to expose themselves this evening, because we are going to have a lot of midweek games coming up and that's going to be really taxing for us. I thought thse lads deserved their opportunity as well, but we know we can move the ball better."

With several players making their first appearances of the season, it was hardly surprising that Sunderland lacked cohesion. Neil said: "The fact we made 11 changes and those players haven't been playing games is a mitigating factor.

"Of course I have standards and expectancies of the lads of where they should be, but I think there are certain criteria there that makes it difficult for them. We had Jack up there on his own and we lacked a threat in the game. We didn't really create anywhere near enough, and when that's the case it becomes tough."

This was a chance for a number of fringe players to stake their claim for a place in the first team and there were no obvious candidates following this performance. But Neil insists he will not judge them too harshly on the basis of one game.

He said: "It's difficult to judge purely on that one game. Some of the lads applied themselves well.

"Albeit the goals came from mistakes, other than that I thought we were quite solid and they didn't create too many chances - they were mainly from transition and countering. The difficulty you've got is that normally to counter that you'd have a target at the top end of the pitch to make sure you're secure behind the ball and you can put the ball forward a bit quicker but, unfortunately for Jack, that's not the type of player he is.

"We didn't bring Ross [Stewart] tonight, and Ellis Simms played 87 minutes on Saturday and had only played 45 minutes in pre-season - if I'd risked him for 10-15 minutes and then he breaks down, I'd certainly be kicking myself."

Neil is still keen to strengthen his squad before the transfer deadline at the end of the month and he again underlined that point, but says it is an ongoing situation rather than as a reaction to this defeat. He said: "That's not something I'm saying as a reaction to this evening.

"Every press conference I've done for the last month I've spoken about the exact same thing. I've not changed my stance on that. We need to strengthen the squad. What I want is to get to the end of the window with the strongest squad possible, and every manager will be thinking exactly the same.

"Then, if I lose some key players, I have got other guys who can maybe come in and do a job. Some of the lads that played tonight will have a massive bearing on what our season looks like, so I'm not going to judge them too harshly."

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Sunderland were 'architects of their own downfall' at Sheffield Wednesday admits Alex Neil - Chronicle Live

PARADISE VALLEY, AZHidden in a quiet Paradise Valley neighborhood, Cosanti was home to the late Italian architect and artist Paolo Soleri.

ABC15 caught up with Mark Johnson, the General Manager of Cosanti Originals.

"Everyday people will come in and tell us how they didn't know that we were here and their jaw drops at the beauty of the architecture," Johnson says.

Known for his concrete earth-formed structures, and pushing architectural boundaries, Paolo Soleri is probably best known for his Soleri Bells. The world-renowned bronze and ceramic wind bells are created and sold at Cosanti. Proceeds help to pay for his organic architectural mission to make something out of nothing.

"We call it Arcology. It's a combination of architecture and ecology," added Johnson.

Soleri started using his trademark earth casting technique at Cosanti, after his apprenticeship ended suddenly with Frank Lloyd Wright.

"They both were very strong-willed people," Johnson noted. "He decided to go his own way and do more experimental types of architecture."

The 5-acre property is of full of hidden gems, including Soleri's design studio, residential structures, the bronze foundry and ceramics apses.

Cosanti offers free hour-long tours, but donations are encouraged. Those tours take place almost every day of the year, excluding holidays. They are limited to 12 people.

If you don't have time for the tour, make sure to see the Bronze Pour.

This is a carefully choreographed process, performed by skilled foundry artisans who pour the super-heated bronze into molds that eventually become one-of-a-kind wind bells.

Johnson says, "It's a behind-the-scenes look at the architecture. And also, they get to see our pores of 2200 degree molten bronze that create these wonderful pieces of art called the Soleri bells."

MORE INFORMATION:

Cosanti

6433 East Doubletree Ranch Road

Paradise Valley, AZ 85253

928-632-7135

tours@arcosanti.org

Cosanti Hour-Long Tours: Monday - Saturday, 9:15 am, 10:45 am.

Bronze Pours: Monday - Friday, 9:30, 10:30, & 11:30 daily.

No Tours on Sunday

Link:
Hidden in Paradise Valley, Cosanti was once home to late Italian architect and artist Paolo Soleri - ABC15 Arizona in Phoenix

Kohler has launched a limited edition creative AR experience to celebrate the new Statement & Anthem showering collection. The hybrid launch concept extends the boundaries of a showroom by offering digital and physical touchpoints through a Statement & Anthem sculpture, which reflects the colours and finishes of the new collection, and an accompanying QR code which transports the user to a virtual world.

Once the sculpture is configured and the QR code scanned, the user is transported to a virtual world where they can explore different spaces of wellbeing inspired by the stunning design cues of the new Statement Showering Collection and Anthem Digital & Mechanical Controls.The physical pieces create an immersive experience for architects and designers, and encourage Kohlers creative audience to touch and feel the various materials, admire the unique shapes and forms, and build their own configurations.

Our new Statement & Anthem collection represents a generational shift in the shower experience and we wanted to celebrate that, explains Angela Zahn, Kohler Kitchen & Bath Group Director of Global Campaigns and Channel Marketing

As these products break out of traditional bathroom design, by blurring the lines between the bathroom and other interior spaces (Statement forms were inspired by household objects found outside of the bathroom) as well as allowing users to control the shower mechanically or digitally, we saw an opportunity to showcase them by creating a hybrid experience that similarly blurred the lines between home/work, and digital/physical.

The spatially-aware, mobile and webAR browser experience enables participants to step inside a 360 virtual space to explore three beautiful landscapes that showcase Kohlers products. Within these landscapes, participants can find and interact with a life-sized, animated, abstract sculpture inspired by the physical sculpture, as well as rotate, pinch and zoom in to examine the details.

Architects are also able to leverage their own physical environments and transform them into interactive playspaces by virtually walking around, examining the product from all angles, and taking in their surroundings. Each sculpture is accompanied by high-quality product cards containing imagery and helpful specifying information.

Through this immersive hybrid experience, architects and designers can discover the endless ways Kohler products can bring a sense of harmony and revitalization into their designs and create their own spaces of wellbeing.

We understand our audience of global architects, designers, developers and hoteliers gains so much more from an experience that can be seen, felt, and appreciated in the context of a physical environment, continues Angela. Therefore, the creative team landed on a concept that was both transportive and grounded, while embracing the constraints of a remote setting in a thoughtful, sophisticated, and innovative way.

Gift boxes containg the sculpture, product codes and portal QR code have been sent to 500 key figures in the architect and design community. As travel resumes, the AR experience will be featured at Kohler events and retail locations, providing Kohler with an opportunity to enable its customers to explore both the physical and digital world of Kohler Showering simultaneously.

https://experience.kohlerglobalshowers.com

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Kohler turns to AR to immerse architects and designers in latest launch - TOPHOTELNEWS

When I first moved to Toronto about a decade ago, Tel Aviv-born, Paris-educated architect and urban designer Naama Blonder recalls, the one complaint I heard the most was about the ugly condos with cold, monstrous features.

Sound familiar? With condo construction continuing to dominate redevelopment around the city, many fear more bland blocks of steel and green glass will follow. But among developers and city planners, signs of point to a new focus being put on not only what new buildings themselves will look like, but also how they can best fit into existing neighbourhoods and streetscapes.

Fifteen years ago, Toronto established the Design Review Panel, a group of design and landscape architects, transportation engineers and experts in heritage and environmental sustainability, who voluntarily evaluate development proposals and tell the builders as well as city planners how to improve them. (The city also has other panels specializing in waterfront and transit infrastructure development proposals.)

Emilia Floro, Torontos director of urban design and head of the department to which the Design Review Panel provides feedback, says the panel looks at both the esthetics of new buildings as well as their compatibility and fit with the public realm around them streets, parks, open spaces.

Were really focused on the highest quality of life for people using (them), Floro says, and achieving a high quality of architecture, and landscape architecture that incorporates heritage preservation and environmental sustainability.

Floro points to One Bloor Street East as an example of substantial improvement through the Design Review Panel process. The new tower, on the southeast corner of Yonge and Bloor, was reshaped at street level to better match Yonge Streets narrower and multiple-unit retail face. Sidewalk space was enlarged and enhanced and provides better weather protection, while the buildings top was refined with an eye toward its significant impact upon the skyline, Floro says.

King Toronto, a massive condo development now under construction on King Street west of Spadina, promises to be a dramatic new addition to the face of the city. Inspired by Moshe Safdies Habitat housing complex built for Expo 67 in Montreal, it stacks terraced units into four main mountains, with each suite facing at a 45-degree angle. This gives the complex an undulating appearance, in contrast to the usual flat wall-and-windows faade.

Ground-level retail will frame wide passageways leading into courtyard of more shops, rigged with a mist-producing cloud-maker for hot summer days. A new public park will mark the south flank.

King Toronto will incorporate several of the streets classic red-brick heritage buildings into its decidedly modern motif. The developments Danish architect, Bjarke Ingels, told the Star in an interview when the development was first announced in 2018, that he understands the importance Toronto places on preserving city streetscapes.

You have to tread carefully when you have existing qualities like we do at King Street, he said.

There should be a way where the two can successfully co-exist. By not confusing whats old and whats new, you preserve the past and reinvent it and contribute something toward the future.

For Naama Blonder, who is the co-founder of Torontos Smart Density design firm (which recently won the 2022 Ontario Association of Architects award for best emerging practice), that compatibility between new developments and their surroundings is key. Design (of the building) matters, design of the public realm matters, design of the ground floor and of retail matters, she says. All of the things that build your experience as a pedestrian will matter far more than just the height of the building or the number of windows.

Blonder says development in Toronto is very bottom-line-driven, and pressures to cut costs have led to the dominance of steel and glass facades. Its the most feasible form of construction, she acknowledges, but its unnatural to the human eye to see the same window hundreds of times in a tall building with hundreds of units. In nature, you dont have anything that repeats itself like that.

In Blonders view, the Ontario College of Art and Design building (completed in 2004) and the Brookfield Place atrium (1992, also home to the Hockey Hall of Fame) are some of the most recent innovative, yet already dated, standouts. Eighty per cent of the architecture in this city is not star flashy buildings, she says.

However, Blonder looks forward to the completion of the Well, the mixed-use residential/retail/office complex and future home of the Toronto Star under development on Wellington Street west of Spadina, praising its design, which includes a beautiful, two-storey, high-ceilinged food court.

For similar reasons, she thinks the redevelopment of the former Honest Eds site at Mirvish Village (to feature a new market area and brewery) holds promise, as does the Waterworks condo on Richmond Street West, which incorporates a large food hall into the Art Deco-inspired public works building constructed in the 1930s.

Its a fact of life in Toronto that most major new builds will be condos. Blonder says because of residential zonings dominance in the city, along with the ongoing demand for new housing, its imperative that the city strike the right balances between new projects design and their integration into their communities.

With Boston or New York, Blonder says, the character is not of one building. Its mostly the streets of the city that create the identity, the brand that you think of.

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Leading architects and city planners share their ideas for Torontos urban vista - Toronto Star

Renew Calumet / wkshp/bluemarble

By Wkshp/bluemarble

A Green New Deal means designers can live up to their potential to address the wicked problems of our time. Landscape architects, planners, and architects may be familiar with the Green New Deal Superstudio, which was a call for designers to spatially manifest the Green New Deal, or to imagine projects centering jobs, justice and decarbonization.

The Superstudio marks an inflection point for landscape architecture. Grounded in policy and the context of climate change and social unrest, the Superstudio is the landscape architecture communitys public acknowledgement that our work is deeply intertwined with politics.

As a collective of young practitioners, we understand the significance of the Green New Deal conversation happening within and outside of our profession. ASLA and the Landscape Architecture Foundation (LAF) have embraced the Green New Deal, and organized students and practitioners to imagine its tangible implications within the built environment. These steps represent real action towards the shift in practice that Billy Fleming, ASLA, the Wilks Family Director at the McHarg Center at the University of Pennsylvania, called for in his 2019 article, Design and the Green New Deal. Like Fleming and the professions organizations, we recognize a shift that needs to happen if landscape architecture is to stand a chance.

It is crucial for landscape architecture to change if we are to have a meaningful contribution toward a habitable future. As Superstudio participants, Wkshp, a team of emerging professionals, viewed the Superstudio as a way to imagine both future projects and adapted practice.

For us, the Superstudio was fulfilling in several ways. With limited experience in professional practice, we found a shared sentiment that our professional experiences were not in complete alignment with what we were sold in school a sometimes romanticized version of our personal career paths and the impact they will have. After a couple of years in practice, we have maintained faith in the potential of landscape architecture to make large-scale change. Perhaps the most significant aspect of the Superstudio was that it prompted us to make space to rekindle our passions and sense of purpose, in ways that often dont fit into typical modes of practice.

What exactly doesnt fit into existing practice and why? While developing our Superstudio submission, our time was dedicated to identifying barriers to implementation and asking questions. Repeatedly, we were brought back to the same power dilemmas, which are beyond the scope of the typical landscape architecture project, but were centered in our Superstudio work: structural racism, a patriarchal society, colonialism, severe economic inequity, and environmental injustice, among others.

Working under the framework of the Green New Deal was liberating it meant that we could transcend the constraints of the current market, and a model of practice formulated to serve it. It allowed us to imagine design processes and projects to serve geographies and communities that have been economically, socially, and environmentally abandoned, while considering how we can work differently.

We imagine a culture that has moved beyond megalomania, utopianism, and individualism. In the Superstudio, we find the seeds of a collaborative realism and inclusive organizing that we are now working to scale and ground. So, a Green New Deal project is not necessarily a new project in its built form, but the where, how, and for whom represent a practice transformed. The Green New Deal creates living infrastructure in places that need it but cant afford it, repairing landscapes that have been endlessly extracted from, preparing underserved communities for unpredictable futures, with an emphasis that it will all be co-designed. This is a new means and mode of practice one of which does not yet exist, but desperately needs to.

The Superstudio was an experiment in process, just as much as it was a design project. Wkshp/bluemarble, a non-hierarchical collective with collaborators from multiple firms working together across three time zones, embodied this ethos throughout. We understand that ethics of flexible leadership and constant growth are critical for facing the challenges of our generation.

The Modernist approach exemplified by architects Le Corbusier and Frank Lloyd Wright is a deeply flawed, failed model. We cannot rely on individuals to save the planet. In the same vein, we must stop placing individuals on a pedestal within design culture as a whole. Almost nothing in our field is created or even conceived by a single individual, and its time to acknowledge the power of a team as well as elevate the power of the ideas, rather than praise a single person. On this note, we reject destructive criticism by those in power within our tiny profession. Young designers need support, especially those willing to dedicate a career (or even one year as a thought experiment) to re-conceiving our collective future.

With this transformational spirit, the Superstudio summit, Grounding the Green New Deal, was an opportunity to begin imagining next steps with fellow Superstudio participants and leaders. The summit organized by LAF, with the University of Pennsylvania, Columbia University, ASLA, and the Council of Educators in Landscape Architecture (CELA) at the National Building Museum in Washington, D.C., featured a curated selection of projects and speakers from practice, policy, and advocacy. The summit which was thought-provoking, informative, and beautifully executed, igniting a series of deep reflections.

Both the immediate and more distant futures of the profession were on display at the summit. For those seeking spark notes on advancing jobs justice and decarbonization, here are some general themes we came away with:

We were especially inspired by the work and vision of organizers such as Colette Pichon Battle, Esq., the executive director of Gulf Coast Center for Law & Policy, an organization that is actively bringing justice to front line communities in the Gulf Coast Region, and represents the type of organization that designers could support in projects akin to the Green New Deal. The voices of those with public sector experience stood out as well, such as Mitchell Silver, Hon. ASLA, former Commissioner of New York City Parks & Recreation department. These panelists shared their strategies of working within existing institutions to produce projects embodying the pace, scale, and justice-orientation of the Green New Deal in the now.

Kate Orff, FASLA, founder of SCAPE, and Fleming, both key figures in the Superstudio and the profession at large, provided essential framing through presentations that served as a prompt for advocacy and guide for implementation.

We felt that the lack of organized dialogue among the mass of Superstudio participants was a missed opportunity, and that the format of the summit, while inspiring, felt devoid of the popular, inclusive spirit of the Superstudio. Some challenges mostly of the how do I start doing this right now? variety still need further testing in the real world. For example, once we connect with community organizers, are we prepared to work differently from our normal practice? Can this work happen at scale outside of academic spaces? How does this work get done where there isnt an existing implementation structure, or the structure cannot transcend existing forms of development? How do we scale up this transformative practice outside of the most populous, resource-rich regions of the country?

Urgency is in the air. The summit must be the beginning of a conversation, yes, but most importantly must further contribute to radical action both within and beyond the field locally and globally. Now is the time for landscape architecture to evolve.

Here are our next steps: capacity building, organizing, and, most critically, doubling down on the collective imagination that the Superstudio so radically and meaningfully engaged.

Wkshp/bluemarble is a team of emerging professionals working for transformations within practice and the world at large.

Adriana Hernndez Aguirre, Associate ASLA, Coleman & AssociatesMaddie Clark, Design WorkshopOlivia Pinner, Associate ASLA, SWAAdam Scott, PLA, Associate ASLA, SWANicholas Zurlini, Associate ASLA, GGLO

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Whats Next for the Green New Deal in Landscape Architecture? - American Society of Landscape Architects

ORIGINALLY BUILT IN 1958, THE ARCHITECTS RETREAT IS FULLY UPDATED AND READY FOR ITS NEXT CUSTODIAN

Located in Vancouver, Canada, the Architects Retreat is a residential structure previously occupied by three generation of architects and designers. Originally built in 1958, the house has gone through dedicated renovations directed by the different owners, fully updating it to fulfill contemporary necessities.

Listed by West Coast Modern, this cabin in the woods recently sold for nearly $2.4 million 10% above its asking price.

images by Jesse Laver + Yan Timo, courtesy of West Coast Modern

Built and owned by Henry Yorke Mann a contemporary of Ron Thom and Arthur Erickson the Architects Retreat is located on Clements Avenue in North Vancouver. The original cedar box structure was built at a cost of $8,000 and encompassed only 700 square feet and one bedroom. Made with double tongue-and-groove cedar, the walls were not insulated.

For Mann, the place of the architect is alongside great composers, musicians, painters and poets who aspire to fully express the beauty, depth and mystery of humanity. Architectural Institute of British Columbia (AIBC)

Thirty years later, the house changed owners when architect Perter Buchanan bought it. He began his own renovations, which included the addition of two stories. The resulting 1,910-square-foot plan contains the main bedroom and a den, and a two-bedroom basement suite below. Building on Manns design, Buchanan tested out experimental ideas that would lead to some of Vancouvers most iconic buildings.

It was in fact Buchanan who gave the Architects Retreat its current form, drawing inspirations from aerial and nautical designs.

The new structure was built by repurposing old building materials, Buchanan told West Coast Modern. In fact, all of the fir needed was supplied by one single old growth blown down fir tree taken from Sea Schelt. It was a model and experiment for sustainable environmental design. Anne and I lived in the home for 26 years and raised our two kids Nevada and Max in the home and neighborhood until we sold it and moved to Whistler in 2015.

Finding the right buyer was not easy as its effectively a one-bedroom house on a small lot. Buyers kept telling us they could get double the house for the same price, said Trent Rodney from West Coast Modern.

The current owners the Noel family local designers themselves, completely restored the house maintaining the original feel of the home, while improving its livability. The project earned them North Vancouvers 2018 Heritage Award.

The rest is here:
architect's retreat, a home intervened by three generations of architects + designers - Designboom