Lachlan Turczan's practice sits in the space between physics, optics, and environmental art, as he works with lasers, water, mist, and custom-built lenses to produce sculptures made entirely from light.
The original intent of pilotis was to create a sense of lightness that would allow circulation and light to flow beneath a structure, but contemporary requirements render thin columns insufficient for large-scale civic projects.
Viewpoints are structures designed for observing the landscape from elevated positions. They act as devices that organize the gaze and establish a direct relationship between the body and the territory.
Rooted in the tension between nature and artificiality, the installations pose questions about how we interact with the environment and how we might find equilibrium with it. All of my photographs strain credulity by design. At first blush, they can appear to be digital fabrications, but in truth, they are entirely in-camera, printed with minimal post-production.
The contemporary technology museum has emerged as a performative participant in the systems it seeks to document. The architecture of these institutions has become increasingly fluid and bold, often mirroring the velocity and complexity of the systems it houses. They operate as mediators between the human, the ecological, and the technological realms, transforming from encyclopedic warehouses into active educational engines.
Decades of research in environmental psychology and building science reveal that indoor conditions can profoundly affect human health and behavior. Lighting influences circadian rhythms and sleep patterns. Air quality impacts cognitive performance and respiratory health. Temperature and acoustics shape comfort and concentration.
The Architect Elevator is a metaphor-in reality, the company leadership may be sitting on the same building floor as you; my car metaphors could fill an entire book; and " Architecture is Selling Options " has become the anchor of many architecture keynotes. So, at least my world of architecture is full of metaphors.
Cities around the world share a common goal: to become healthier and greener, supported by civic infrastructure that restores ecosystems and strengthens public life. The question is how to reach this. Global climate targets, local building codes, and municipal standards increasingly guide designers and planners toward better choices. Still, many cities struggle to translate these frameworks into everyday, street-level comfort and long-term ecological protection.
My family had Slide Show Night when I was growing up. Not every Saturday, but a whole bunch of Saturdays. Either my sister or I would be in charge of setting up the projector, the screen, and loading the carousel. During the show, there'd be a few landscapes or skylines taken during vacations, but almost all the shots were up close. Like most dads, mine wasn't a professional photographer, but he did a good job of capturing memory triggers: faces, gestures, and decorations.
Earlier we did episode one of this with Grady Booch where we discussed the principled view of that what's changing and what remains unchanged, what is hyped and what is actually naturally coming with the AI changes. We also spoke about that what is the difference between the design and the architecture and what teams are focusing and what they might be missing.
The studio is at my house within a ranch, surrounded by nature. It's on the second floor of the house, where there's better light. My routine all day shifts between studio work and housework, including outdoor garden work. I get up a bit before 7am, drink coffee in the yard, and get morning sunshine. Then my husband and I eat breakfast and do a bit of cleaning or some chores in the garden.
Climbing an observation tower involves a lot of steel and concrete just to stand a few dozen meters higher and take in a view. The ritual is familiar, the ascent, the vertigo, the panorama, but the infrastructure demands are massive for what amounts to a few minutes of elevated looking. Michael Jantzen's Telepresence Observation Pavilion asks whether we always need to build big vertical structures to get that feeling, especially when most distant experiences already come through screens and networks.
