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A guide from Graphisoft on how to create powerful design presentations with Archicad through the use of Archicad version 25.

The Naomi Milgrom Foundation has announced that the sixth edition of the MPavilion will be designed by Australian architect and Pritzker laureate architect Glenn Murcutt AO. Murcutt's announcement comes as the 2018 edition of the MPavilion, designed by Spanish architect Carme Pinos, closed after a record-breaking season that saw more than 133,000 visitors. Murcutt will be the second Australian to design a pavilion for the Melbourne-based program; Sean Godsell designed the inaugural pavilion in 2014.

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The A’ Design Award is an international award whose aim is to provide designers, architects, and innovators from all design fields with a platform to showcase their work and products to a global audience. While there is no shortage of design awards out there, the A' Design Award stands out for its exceptional scale; with over 100 design categories, each year over 1,000 awards are given to designers from all over the world. The award's 2019 edition is now open for entries; designers can register their submissions here.

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A sturdy featherweight table? Sounds... contrary to reason. But this contradiction was the very impetus for the design. Created for a research center that’s pushing the boundaries of design and manufacturing using technology and science, the designers--AIRLab, in collaboration with DManD-- sought to dematerialise the typical structure of a table, creating a sense of instability with the visual counterpoint of a solid surface.

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An iconic piece of architecture recognized around the world, the Sydney Opera House was designed by Jørn Utzon, following a 1956 competition that attracted 222 competition entries. Since its opening in 1973, the building has redefined the ambitions of Australia and only last September celebrated its latest milestone: turning completely carbon neutral.

The history behind the Opera House and its creation is as rich as the architecture itself. In 1956 the New South Wales Government called an open competition for the design of two performance halls, for opera and for symphony concerts, hoping to establish Sydney as a major city. Danish architect Jørn Utzon won the competition with an entry that consisted of a few simple sketches that intrigued the jury.

I think that the conversation with Junya Ishigami at his experimental (and very international) studio in Tokyo was one of the most memorable experiences of my recent trip to Japan. Junya's visions for not just of his own architecture but for the profession were wholeheartedly inspiring. He thinks that architecture today is “not free enough.” He wants to diversify it, liberate it from so many architects’ insistence on following particular building types and, in general, our narrow expectations. He wants his architecture to be soft and loose and finds inspiration in such improbable metaphors as clouds or the surface of water. “We need to introduce more varieties of architecture to better address peoples’ dreams…I want to expand architecture into the future by creating new comfortabilities,” says Ishigami, whose two recent manifesto-like exhibitions in Paris questioned the very nature and purpose of architecture. He is a visionary and essential voice in what is perhaps the most unsettled of all professions.

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