Articles by Carla Bonilla Huaroc

Immersive spaces are heavily sensorial environments meant to create impactful experiences crafted through intentionally curated architecture, light, imagery, sound, and sometimes even smell. To “immerse” oneself is to be wholly enveloped in a world shaped solely by immediate sensory input. Using digital tools to craft these environments to showcase art, create compelling exhibitions, and feature performance events has become increasingly popular. Evocative experiences like these can offer a respite from the inundation of personalized digital content and foster shared, grounding encounters. The design of these can exist at the intersection of architecture, graphic design, visual art, lighting design, music, and performance. They underscore the power of interdisciplinary collaboration to craft memorable moments. So, what role does architecture play in shaping these?

Unoccupied office buildings in major US cities are sending their downtowns into a so-called “urban doom loop.” With the widespread adoption of hybrid work, the influx of office-goers to central business districts has drastically dwindled. As a result, retail and restaurant businesses in these areas are struggling, urban transit systems are losing ridership, and city governments are grappling with the loss of tax revenue necessary to maintain public safety and sanitation. So, how can cities bring people back into their central business districts? While discussions on transforming offices into housing have given fruition significant city and federal incentives across the United States, what solutions exist for offices that aren’t viable for such conversions?

Discontent among employees in architecture firms is at an all-time high, demonstrated in the push for architectural unionization in the US in response to the lack of overall well-being in the profession. This discontent can be largely attributed to the inherently exploitative nature of the regular top-down architectural firm structures, fostering a disconnect between the direction firms take and the people working to make it possible. In these, leadership often takes on projects beyond the firm’s financial capacity, with the expectation of underpaid staff taking on the brunt of the work through unpaid overtime. In these structures, employees are not to be a voice guiding the firm but to be profited off of. So, what are ways to address this disconnect? Is it time to restructure firms to give architects more agency? What are ways to create non-hierarchical firm structures?

In architectural design, our interactions with non-human organisms have predominantly involved creating barriers to exclude them from the human realm. What if we were to adopt a different approach? Interspecies design is a movement that puts non-human organisms—fungi, insects, and various animals—on an equal footing with humans. This design philosophy provides frameworks that foster non-hierarchical relationships with other species. By doing so, it cultivates empathy for other life forms and shifts our perspective on the world around us. It aims not only for a net-zero approach but also seeks collaboration with non-human organisms to develop environments beneficial to all. Below, explore some emerging material technologies designed to benefit both humans and other life forms.

Advancements in 3D printing technology are progressing at an unprecedented pace, accompanied by a parallel surge in computational power for manipulating and creating intricate geometries. This synergy has the potential to offer architects an unprecedented level of artistic freedom in regards to the complex textures they can generate, thanks to the technology’s remarkable high resolution and rapid manufacturing capabilities. If the question of production was out of the way, and architects could now sculpt virtually anything into a facade effectively and efficiently, what would they sculpt?

A vital aspect of a circular economy lies in shifting our view of waste. Labeling an item “waste” implies voiding its value and ending its useful role in a traditionally linear economy. While the item might be out of sight and out of mind, its life continues in the landfill. This shift in perspective regarding waste means opening our minds to the opportunity that the abundance of junk presents. These designers and architects have managed to not only effectively reclaim discarded objects but also to make them look precious, imbuing them with new meaning and value through their careful curation.

3D printing holds vast potential due to its ease of large-quantity manufacturing, its flexibility in terms of material exploration, and its ability to materialize all kinds of geometries. This year, architects and designers have looked at 3D printing technology to decarbonize construction materials, integrate contemporary aesthetics with traditional construction methods, and add a layer of craft and artistry to interiors and facades.

Music Festivals can provide artists, designers, and architects a platform to present their work to large crowds. The sheer scale of these installations, the space for artistic exploration, and the vast audience they reach can give designers the opportunity of a lifetime to showcase their ideas. Through scale, color, imagery, and lighting, these installations create lasting impressions on the people who attend these events and those who see them through news coverage or social media. Some themes explored this year included reframing familiar things in unfamiliar ways, large-scale abstract geometries at the intersection of technology and art, and the use of innovative new materials.

Beautiful sites with stunning views along the waterfront of major cities often go unused due to the industrial remains of a past economy based on shipping and manufacturing. The move away from these economic sectors and the potential of these sites has contributed to a move to adapt these spaces into public amenities. While some cities’ approach has been to demolish and start from scratch completely, the thirteen-year transformation of the Brooklyn Bridge Park in New York City‘s waterfront included keeping some of its industrial character. In their upcoming book “Brooklyn Bridge Park,” Michael Van Valkenburgh Associates discuss their design process, including using the existing materiality and structures along the piers to embed the site’s history in the park.

In Greater Boston’s city of Malden, Massachusetts, an inter-generational community of thirty households hired an architecture firm and collectively designed their cohousing community. Responding to the cohousing community’s request for collective living in an urban setting, French2D designed a typology-challenging building with individual residential units connected by a framework of shared spaces. The result is a 48,700 sqft unique and colorful type of multi-family housing. It is one of a growing number of cohousing projects in the United States.