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BEGIN:VEVENT
DTSTART;TZID=UTC:20240518T080000
DTEND;TZID=UTC:20260510T170000
DTSTAMP:20260503T140829
CREATED:20260301T233916Z
LAST-MODIFIED:20260301T233916Z
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SUMMARY:Science Fiction Design: From Space Age to Metaverse – Vitra Schaudepot 2026
DESCRIPTION:Overview\nThe exhibition called Science Fiction Design: From Space Age to Metaverse is being displayed at Vitra Schaudepot which is located in Weil am Rhein\, Germany. The exhibition displays more than 100 objects which show how science fiction influences design through a futuristic display created by Argentine visual artist and designer Andrés Reisinger. The collection includes items which range from early twentieth century design to Space Age products and present day virtual reality creations. \nFocus\nThe exhibition studies the ways through which science fiction has shaped design visual elements and selection of materials and futuristic design concepts. The exhibition displays historical furniture items which show future cinematic predictions together with modern digital creations which combine physical and digital elements while showing cultural heritage and future potential. \nProgram\nThe exhibition showcases items from the Vitra Design Museum collection which are presented in a futuristic display. The exhibition features items designed by mid-century designers who created work for classic science fiction movies and modern studies into metaverse design. The exhibition includes additional contextual materials from literature and film which demonstrate how science fiction has shaped design practices throughout history. \nAudience\nThis exhibition is suitable for design professionals\, historians\, students\, and general audiences who want to learn about design history and cultural speculation and future creative practices. \nEvent Details \n\n\n\nDates\nUntil 10 May 2026\n\n\nHours\nDaily\, 10:00 AM – 6:00 PM\n\n\nVenue\nVitra Schaudepot\n\n\nLocation\nCharles‑Eames‑Straße 2\, 79576 Weil am Rhein\, Germany\n\n\nEvent Type\nExhibition\n\n\nAdmission\n€23.00 (standard)\, €21.00 (combined ticket)\, €13.00 (single)\, €10.00 (reduced); children under 13 free* \n\n\n\n✦ ArchUp Editorial Insight\nThe exhibition presents science fiction design through its examination of design patterns and speculative storytelling which extends from early 20th century futurism through to current virtual reality spaces. The project studies artistic and material research because it shows how people from various cultures understand different things. The installation demonstrates design future possibilities through visual representation but its main function exists within the museum’s storytelling system which restricts its ability to show architectural design elements. The exhibition shows how architectural design concepts evolve because it presents the fundamental design concepts and cultural influences which shape design thinking. \nClosing Note\nThe exhibition shows how science fiction concepts have created today’s design practices by showing historical design objects together with modern designs which exist in fictional settings. \nExplore the Latest Architecture Exhibitions & Conferences \n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/science-fiction-design-from-space-age-to-metaverse-vitra-schaudepot-2026/
LOCATION:Vitra Design Museum\, Vitra Design Museum Charles-Eames-Str. 2 D-79576 Weil am Rhein\, Weil am Rhein\, Weil am Rhein\, -\, Germany
CATEGORIES:Exhibitions
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ORGANIZER;CN="Vitra Design Museum":MAILTO:info@design-museum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20250715T080000
DTEND;TZID=UTC:20260712T170000
DTSTAMP:20260503T140829
CREATED:20251027T225628Z
LAST-MODIFIED:20251027T225628Z
UID:10000905-1752566400-1783875600@archup.net
SUMMARY:The Many Lives of the Nakagin Capsule Tower
DESCRIPTION:The exhibition titled The Many Lives of the Nakagin Capsule Tower is going to be held at the Museum of Modern Art\, New York City\, from July 10\, 2025\, to July 12\, 2026. The exhibition is a reflection of the fifty-year-old history of the Nakagin Capsule Tower\, which was designed by Kisho Kurokawa\, a leading architect of the Japanese Metabolism movement. The building was initially completed in 1972 and was a grouping of prefabricated modular capsules connected to communal cores\, thus making it a prominent example of the Metabolism movement. The exhibition will not only tell the story of the tower’s rise as a metaphor for the future but also about the changes it underwent throughout its life cycle until the final demolition of the last unit took place in 2022. However\, the legacy of the capsule continues to be present through the units that were preserved and the reinterpretations that were made. \nEvent Overview\nThe A1305 capsule is the most important aspect of the exhibition; only fourteen units were restored after the demolition. The display includes original drawings\, models\, ephemera\, photographs\, and films that illustrate the building’s conception\, marketing\, use\, decline\, and legacy. Video interviews with ex-residents and a virtual tour give an intimate and spatial insight into the narrative. The exhibition views the tower as a dynamic repository of architectural trial\, urban evolution\, and cultural remembrance. \nArchitectural Analysis\nThe Nakagin Capsule Tower’s design was based on the principles of flexibility\, modularity\, and urban living at a very small scale. The prefabricated capsules were designed in such a way that they could be easily replaced with others as the requirements changed; thus\, the whole building was similar to a living organism. The combination of materials and structure consisted of concrete and steel cores that supported the factory-made capsule units. The building\, in terms of context\, not only addressed the issue of rapid urbanization of post-war Tokyo but also the avant-garde ideas of machine\, growth\, and transformation in architecture. A critical reflection arises concerning the original promise of replaceability and longevity; was it actually realistic? The capsules were mostly untouched for decades\, maintenance turned out to be very expensive\, and finally\, the tower had to be demolished. The exhibition demands from the audience to ponder over the conflict between the futuristic flexibility and the down-to-earth durability in the context of architecture. \nProject Importance\nFor architects and designers this exhibition provides rich lessons on the interplay of innovation and lifespan in built work. It teaches that architectural ambition must consider the long term as well as the immediate. From a typological perspective\, the tower influenced ideas about micro dwellings\, urban densities\, and modular construction. In the current era of sustainability and transformation\, the project matters because it invites reflection on how architecture adapts\, becomes repurposed\, and ultimately becomes part of cultural memory rather than only physical infrastructure. \n✦ ArchUp Editorial Insight\nThe Many Lives of the Nakagin Capsule Tower narrates a story of architecture that is nothing but an experiment and heritage at the same time. The display focuses on the important aspects like modularity\, urban density\, and the participation of architecture in the life of the city that is constantly changing. One of the important issues to discuss is if the building’s innovative system could actually provide the promised renewal and replacement over the years. However\, the ongoing impact of the project demonstrates how far architecture can go\, over the barrier of physical life\, to be transformed into an idea\, a model\, and a legacy. \nConclusion\nThe exhibition is a representation of a daring architectural concept and its intricate life post-construction. It is through the capsule\, models\, and archival material that the show invites the audience to interact with architecture in its dual capacity as an aesthetic form and a procedural aspect\, as a social space and a temporal system. For the architects and the architectural community\, the exhibition is a reminder that the design process does not only cover the moment of creation but also the entire trajectory of use\, decay\, adaptation\, and memory. The exhibition compels us to consider how architecture keeps on being relevant by changing through evolving and being reimagined. The history of the Nakagin Capsule Tower is such that it teaches us the dramatic ideas in architecture may\, though unintentionally\, persist to play a role in shaping new design and revisiting the old concepts of permanence\, flexibility\, and valuelessness. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe. \n\n\n\nBrought to you by the ArchUp Editorial Team\n\n\n\nInspiration starts here. Dive deeper into architecture\, interior design\, research\, cities\, design\, and cutting-edge projects on ArchUp.
URL:https://archup.net/event/the-many-lives-of-the-nakagin-capsule-tower/
LOCATION:Museum of Modern Art\, New York\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2025/10/The-Many-Lives-of-the-Nakagin-Capsule-Tower-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20251001T080000
DTEND;TZID=UTC:20261231T170000
DTSTAMP:20260503T140829
CREATED:20251027T231357Z
LAST-MODIFIED:20251027T235517Z
UID:10000907-1759305600-1798736400@archup.net
SUMMARY:Maritime City
DESCRIPTION:The exhibition Maritime City opens on the 1st of October in 2025 at the historic A. A. Thomson and Co. building\, which is a part of the South Street Seaport Museum in NYC\, and stays until the 31st of December in 2026. The exhibition showcases New York’s maritime roots and its global cultural and financial center\, where the seaport was the main thing that connected the city’s identity to the world. The exhibition spreads through three floors and collects over five hundred objects from the museum’s archives and collections that have been very carefully chosen to show the city’s journey from a port to a metropolis. \nThe exhibition takes place in a cast iron and stone warehouse that has been restored\, which was originally built in 1868. The architecture becomes part of the narrative\, representing the city turning to the cultural side and preserving the historical site. Visitors learn how ships\, shipping lines\, port workers\, immigrants\, waterfront industries\, and the built environment together made New York a world city. \nEvent Overview\nThe exposition traces the development of New York waterways and the people who provided the labor associated with them. The items on display help reconstruct the circumstances of seagoing lives\, the character of waterfront businesses\, and the coping strategies of newly arrived immigrants. The exhibition narrates the story of the entire New York area\, encompassing the five boroughs\, Long Island\, and the lower Hudson Valley region. It uses ship parts\, tools\, personal items\, and archival photographs to tell us a layered story of how the seaport influenced the design of buildings\, development of infrastructure\, and lifestyles of the people. The preserved structure of the building reinforces the relationship between maritime industry and the urban fabric\, thus allowing the exhibition to integrate history and space into one experience. \nArchitectural Analysis\nMaritime City’s design maintains the warehouse structure as a main storylineof the narrative. The vertical layout of the building has created a journey that mirrors the different aspects of maritime history. The visitors started at dock level and then traveled through the storage and office areas\, which was the city growing through architecture. The curators kept the original stone walls\, iron columns\, and timber beams by showcasing them\, which not only emphasized but also material honesty and authenticity. These features not only express the industrial atmosphere of the space but also literally connect with the stories told by the artifacts. \nThe site of the Seaport district is a big factor that adds to the meaning of the exhibition since it is located in one of the oldest preserved waterfront places in the city. One cannot help but think whether the exhibition is too much on the past and not sufficiently on the present\, and the issues of waterfront resilience\, climate adaptation\, and public access are among the most important ones. However\, the design has already illustrated the interrelation of maritime labor\, architecture\, and urban evolution\, thus turning the building itself into a storyteller. \nProject Importance\nMaritime City is an illuminative experience for architects and designers\, revealing the influences of material culture and industry on urban developments. It suggests that the design of buildings is not only about the architects’ creative intentions but also about the economic systems\, labor\, and infrastructural considerations. The show educates the audience that urban places are dynamic archives of the past related to production and trade\, where the built environment functions as both a witness and a participant. From a typological perspective\, it points out how the industrial buildings could retain their character while occupying new cultural roles through the process of adaptation. In the present-day scenario of rising sea levels and changing waterfront economies\, the exhibition reminds us that heritage and sustainability are intimately connected; thus\, it is still impactful. It opens the eyes of the designers to look at the past as a source of strength for the new urban futures that are resilient and meaningful rather than as nostalgia. \n✦ ArchUp Editorial Insight\nMaritime City effectively connects architecture\, industry\, and history\, showing how New York’s identity was formed by its relationship to the sea. The exhibition design uses the physical qualities of the warehouse to create a direct dialogue between space and content. A constructive question remains about whether the show could address current waterfront issues more directly. Yet it offers a strong example of how heritage architecture can serve education and reflection\, revealing how the past continues to shape the imagination of urban design. \nConclusion\nMaritime City is an exhibition as well as an architectural experience. With the help of artifacts\, restored industrial space\, and curatorial storytelling\, it shows how architecture remembers the past in terms of work\, trade\, and transformation. The exhibition invites the audience to interpret the city as a result of movement and exchange\, constructed by both hard labor and creative adaptation. For architects\, it supports the notion that buildings and materials are not inactive remnants but rather active witnesses to the changes in culture and environment. Maritime City is a considered model for the connectivity of history\, design\, and heritage that can become a source of inspiration for the future of cities that are influenced by water\, industry\, and imagination. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe. \n\n\n\nBrought to you by the ArchUp Editorial Team\n\n\n\nInspiration starts here. Dive deeper into architecture\, interior design\, research\, cities\, design\, and cutting-edge projects on ArchUp.
URL:https://archup.net/event/maritime-city/
LOCATION:South Street Seaport Museum\, A.A\, Thomson & Co.\, 213 Water Street\, New York\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2025/10/Maritime-City-.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20251001T080000
DTEND;TZID=UTC:20261231T170000
DTSTAMP:20260503T140829
CREATED:20251028T035724Z
LAST-MODIFIED:20251028T035724Z
UID:10000906-1759305600-1798736400@archup.net
SUMMARY:The Historic Buildings of the South Street Seaport
DESCRIPTION:The Historic Buildings of the South Street Seaport exhibition is an amazing journey through the ups and downs of one of the most lively cultural areas of New York City. The exhibition not only narrates about the city using the maritime silhouette but also shows that restoration and adaptation can happily survive together in a modern city context. It takes the visitors’ time traveling and leads to seeing how the old warehouses\, counting houses\, and piers are no more merely commercial centers but lively public spaces. \nThe Seaport is a witness to the history of the urban setting\, revealing the delicate balance of the three components of craftsmanship\, history\, and innovation. The exhibition\, through the use of drawings\, photographs\, and even physical fragments\, documents the processes of the preservation and the transformations that have made it possible for the waterfront area to keep its historical character and adapt it to new demands. It has set the stage for a discourse on what it means to protect the past in a metropolis that is changing so fast. At the same time\, the architecture of the South Street Seaport reflects such stories and events as stronghold\, continuity\, and even rejuvenation\, thus providing great insights to architects\, designers\, and urban thinkers. \nThis exhibition is a golden chance to scrutinize the architectural DNA of the Seaport\, taking and examining not only its visual attractiveness but also its social and economic function. It shifts the historical preservation discourse to an ongoing dialogue between time and function rather than a static display of the past. \nContent\nThe show allows people to experience the South Street Seaport’s architectural and cultural development. The transformation of a working port into a living museum of maritime heritage is illustrated through historical drawings\, archival images\, and digital reconstructions. The displays also showcase the skills used in the construction of the district’s very first buildings\, like brick warehouses and timber-framed shops built to survive the city’s ever-changing weather. \nInteractive maps and models are among the tools that allow visitors to follow the Seaport’s architectural path and recognize the changes in the district’s urban fabric throughout centuries. With the new interventions\, modern building elements get added with a finite understanding of painstaking care that guarantees a balance is maintained between the old and new. Rather than recreating the past\, these interventions are like transparent layers that let history be visible while accommodating the present. \nThe emphasis goes further by looking at the social aspect of the site besides just that of preservation. The exhibition brings forth the point that the Seaport has been turning from a mere tourist attraction into a community space where history meets commerce\, culture\, and education. Being a dual identity\, this situation strengthens the idea that heritage should not be made to remain untouched\, but rather\, active use is what keeps the memory alive. \nArchitectural Analysis\nThe South Street Seaport is a perfect example of how buildings can express the rhythm and the durability of a city’s past. Besides\, the bright and colorful material language of brick\, wood\, and cast iron gives the city an industrial character that is all its own. The proportionate dimensions\, the repetition of facades\, and the presence of open bays are nothing but the demonstrations by the builders of the logic of utility\, but with careful restoration\, they are now elevated to be pieces of art of everlasting beauty. \nThe methods of preservation adopted focus entirely on the materials used and thus are very much authentic. Instead of replacing original surfaces\, they were reinforced\, and the contemporary insertions were made in a manner that is very clear and thus not confusing to the viewer as to what is historical and what is modern. This design philosophy is in a way that surrenders to the original fabric by granting it the love of being the only one\, while at the same time keeping the site active. \nIn a major way\, the exhibition prompts a discussion about the limits of restoration. Is it possible for a place to be real when the whole of its economic and social functions have been changed? Does adaptive reuse preserve or alter the soul of architecture? The exhibition proposes that authentic preservation is not in the duplication but rather in the creation of continuity through responsible transformation. \nProject Importance\nThe exhibition provides a heavy lesson about cities that can grow yet keep their architectural memory. For architects and designers\, it reveals the necessity that adaptive reuse be considered a strategy that is consistent with the historical conservation and the sustainability. The Seaport\, with its repurposing of the existing buildings\, not only reduces environmental waste but also keeps cultural meaning. \nThe above project still further reveals the link between architecture and the collective identity. The Seaport’s transformation demonstrates that heritage areas can become even more important when accommodating contemporary social and cultural needs. It imparts the lesson that conservation is not merely an act of nostalgia but rather a forward-thinking process that interlinks the past with the present. \nThe exhibition in the current urban landscape\, which often sees modernization as a threat to the historical fabric\, is a powerful reminder that progress and preservation can be two sides of the same coin. It shows that heritage architecture can still foster new creativity without compromising authenticity\, thus becoming a model for the future of restoration in different parts of the world. \n✦ ArchUp Editorial Insight\nThe exhibition manages to exhibit the South Street Seaport as a vibrant archive of nautical architecture. The way it is structured underlines visual rhythm\, material texture\, and the difference between restored and modern components. The design technique conveys the mood of the waterfront very accurately and gently. On the other hand\, the exhibition questions the issue of authenticity and the extent of commerce’s influence. In other words\, by making historical neighborhoods attractive for culture\, do they then keep their core or fall into the trap of commodification? This contradiction is the source of the intellectual depth of the exhibition. Besides\, its combination of rigorous research and easy understanding has made it an important factor in today’s urban heritage comprehension. \nConclusion\nThe exhibition of the Historic Buildings of the South Street Seaport is not just a visual time travel; it is a paradigm shift in how cities evaluate their architectural heritage and how they sustain it. It shows that buildings can go through changes without losing their essence\, and thus\, preservation and innovation can live together in the same urban space. \nIn the eyes of the architectural community\, the Seaport is an instance that thoughtful design can not only bring about the revival of old structures but also impart modernity to the original concept as well. It does not cease to point out that architecture is a dynamic practice that gets its shape from the surroundings\, memory\, and adaptability. The exhibition on the heritage site has brought forth the notion that sustainable development is not replacing the past but rather\, understanding and incorporating it. By letting the Seaport’s spirit linger on\, the project reinterprets preserving as a creative act that links the past with the present and opens up new ways of thinking in urban design. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe. \n\n\n\nBrought to you by the ArchUp Editorial Team\n\n\n\nInspiration starts here. Dive deeper into architecture\, interior design\, research\, cities\, design\, and cutting-edge projects on ArchUp.
URL:https://archup.net/event/the-historic-buildings-of-the-south-street-seaport/
LOCATION:https://southstreetseaportmuseum.org/the-buildings/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2025/10/The-Historic-Buildings-of-the-South-Street-Seaport.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260120T080000
DTEND;TZID=UTC:20260515T170000
DTSTAMP:20260503T140829
CREATED:20251227T212453Z
LAST-MODIFIED:20251227T212453Z
UID:10000990-1768896000-1778864400@archup.net
SUMMARY:Designers of Mountain and Water: Alternative Landscapes for a Changing Climate 2026
DESCRIPTION:Event Brief\nDesigners of Mountain and Water: Alternative Landscapes for a Changing Climate 2026 will be a landscape architecture conference of two days with an exhibition as a sequel. This is the main topic of the event: it will reconsider the interaction of nature and society through the lens of climate change. The event is designed to bring excellent landscape architects and scholars together from the three continents Asia\, Australia and the United States to give them the opportunity to talk about sustainable design strategies which are based on both historical and contemporary traditions. The conference is academic and dialogic rather than a competitive design competition. \nIntent\nThe event looks into the creative nature visions as they are perceived in different Asian cultures of mountain and water and how these values could contribute to the development of sustainable design in climate change scenarios. \nPurpose\nThe conference acts as a forum to really present different viewpoints\, historical accounts\, and culture storytelling\, as well as the most important projects\, from top professionals and researchers. It brings about a unique interdisciplinary dialogue around the ecological\, social\, and cultural aspects of landscape architecture. \nRequirements\nThe whole event is open to public. There are no predetermined design project submission requirements\, as the event format is conference and exhibition forum. \nJury\nThere will be neither a jury nor any competitive evaluation framework since the event is not intended as a competition. \nFees\nThe fee information for Designers of Mountain and Water: Alternative Landscapes for a Changing Climate 2026 is not publicly available in the form of fixed ticket prices or registration fees. \nRewards\n\n\n\n\n\nReward type\nDetails\n\n\n\n\nProfessional benefit\nExposure to international dialogues on sustainable landscape design and climate adaptation research\n\n\n\n\n\nDates\n\n\n\n\n\nDetail\nInformation\n\n\n\n\nConference dates\nFebruary 5 to February 6 2026\n\n\nExhibition period\nJanuary 20 to April 4 2026\n\n\nVenue\nHarvard GSD\, Cambridge Massachusetts United States\n\n\n\n\n\n✦ ArchUp Editorial Insight\nMountain and Water’s designers: Alternative Landscapes for a Changing Climate 2026 acts mainly as an academic and professional forum that deals with landscape architecture in the context of climate change. The focus on interdisciplinary dialogue\, cultural narratives\, and historical traditions places the event in the domain of research and conceptual exploration rather than competitive evaluation. Participants are engaged in sustainable design strategies and ecological thinking without the constraints of submission requirements or adjudication. From the architectural viewpoint\, the event gives a glimpse of the way social and environmental considerations can be integrated into landscape design\, while at the same time not being a critical design assessment or formal recognition of innovation venue. \nConclusion \nMountain and Water’s designers: Alternative Landscapes for a Changing Climate 2026 is a scholarly conference and an exhibition rather than a competitive design event. Eco-friendly design\, interdisciplinary communication\, and historical context are the main topics of the discussion at this event\, which takes place in the realm of academic and cultural debate rather than critical adjudication or competition. The lack of published fee structures and a jury further confirms its status as an open professional forum that values knowledge exchange and conceptual exploration above competitive outcomes. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/designers-of-mountain-and-water-alternative-landscapes-for-a-changing-climate-2026/
LOCATION:Druker Design Gallery\, Harvard University\, United States
CATEGORIES:Conferences,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2025/12/DMW_IM12_SECTION_crop_sm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260130T080000
DTEND;TZID=UTC:20260517T170000
DTSTAMP:20260503T140829
CREATED:20260127T225258Z
LAST-MODIFIED:20260127T225258Z
UID:10001098-1769760000-1779037200@archup.net
SUMMARY:Otto Wagner – Architect of Modern Life 2026
DESCRIPTION:Overview\n\n\n\nThe Tchoban Foundation Museum for Architectural Drawing in Berlin Germany hosts the architectural drawing exhibition Otto Wagner\, Architect of Modern Life. The exhibition displays works by Otto Wagner from different time periods while showing how he helped create modern architectural styles. \n\n\n\nFocus\n\n\n\nThe exhibition focuses on Otto Wagner’s contributions to architecture around the turn of the twentieth century. The exhibition presents his work through drawings and project studies which show his development from historicist designs to modern European architecture. The presentation of Wagner’s work shows his architectural development through different architectural styles which occurred during his career. \n\n\n\nProgram\n\n\n\nThe exhibition consists of curated displays of original architectural drawings and sketches by Otto Wagner. The collection includes his initial designs and projects which follow Secession style and his later pieces which show his adoption of modernism. The exhibition shows Wagner’s design development through a chronological and thematic arrangement which shows his work in different contexts. The museum’s galleries provide space for focused study and public viewing of these works on paper. \n\n\n\nAudience\n\n\n\nThe exhibition is suitable for architects\, historians\, students of architecture\, drawing and design professionals\, and anyone with an interest in architectural history and the graphic representation of ideas. \n\n\n\nEvent Details\n\n\n\n\n\n\n\nDates\nVenue\nEvent Type\nAccess\nFees\n\n\nJanuary 31 — May 17\, 2026\nTchoban Foundation Museum for Architectural Drawing\, Berlin\, Germany\nArchitectural drawing exhibition\nOpen to the public during museum hours\nStandard museum admission applies\n\n\n\n\n\n\n\n✦ ArchUp Editorial Insight\n\n\n\nThe Otto Wagner\, Architect of Modern Life 2026 exhibition offers a detailed study of Wagner’s architectural evolution which demonstrates his shift from using historicist design methods to his adoption of modernist design methods. The exhibition displays original drawings and project studies which enable viewers to study his design concepts and formal design methods and their respective architectural development through graphic design. The chronological system shows how styles developed over time but it restricts user experience because it only provides access to two-dimensional artwork instead of three-dimensional and physical results. The exhibition provides insight into Wagner’s influence on modern architecture but primarily through theoretical and representational lenses rather than through built environment evaluation. \n\n\n\nClosing Note\n\n\n\nThis exhibition situates Otto Wagner’s drawn work within a broader history of modern architecture. The research examines how architectural representation functions together with draughtsmanship to shape architectural concepts which architects use in their design process. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/otto-wagner-architect-of-modern-life-2026/
LOCATION:Tchoban Foundation – Museum for Architectural Drawing\, Christinenstr. 18a\, 10119 Berlin\, Berlin\, Berlin\, 49\, Germany
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/01/20260122175552.jpg
ORGANIZER;CN="Tchoban Foundation %E2%80%93 Museum for Architectural Drawing":MAILTO:mail@tchoban-foundation.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260130T080000
DTEND;TZID=UTC:20260517T170000
DTSTAMP:20260503T140829
CREATED:20260216T164109Z
LAST-MODIFIED:20260216T164109Z
UID:10001173-1769760000-1779037200@archup.net
SUMMARY:Beyond the Façade Exhibition 2026
DESCRIPTION:Overview\nBeyond the Façade is a contemporary art exhibition hosted inside Casa Batlló Contemporary in Barcelona. The exhibition develops through United Visual Artists\, a London-based studio which creates light-based installations that show Antoni Gaudí’s architectural heritage through digital spaces and spatial media artworks. The exhibition forms part of the broader visitor experience inside Casa Batlló\, which combines traditional architectural elements with modern artistic expressions. The historic building operates as both exhibition space and fundamental design element of his architectural work. Related industry discussions often appear across architecture events. \nFocus\nThe exhibition focuses on reinterpretations of Gaudí’s structural logic\, organic geometry\, material experimentation\, and relationship between architecture and nature. The installations use projection together with sound and dynamic lighting and kinetic digital composition to create artistic spaces which show architectural principles to viewers. This type of architectural interpretation aligns with analytical themes which architectural articles explore through research that studies experimental design in connection to architectural competitions. \nProgramme\nVisitors access the exhibition as part of the Casa Batlló tour route. The experience includes guided circulation through the historic residence\, audiovisual installations\, immersive exhibition rooms\, and digital interpretation spaces located within the second floor contemporary gallery. The exhibition exists within the complete museum experience\, which differs from a separate ticketed conference or lecture event. \nAudience\nThe exhibition targets architects\, architecture students\, digital artists\, exhibition designers\, historians\, and cultural visitors who want to explore Gaudí’s work and modern spatial media installations. \nEvent Details\n\n\n\nItem\nDetails\n\n\nDates\n31 January 2026 — 17 May 2026\n\n\nVenue\nCasa Batlló Contemporary\, Barcelona\, Spain\n\n\nEvent Type\nArchitectural exhibition integrated within museum visit\n\n\nAccess\nEntry included with Casa Batlló admission ticket\n\n\nFees\nStandard Casa Batlló visitor ticket required. Pricing varies depending on ticket category\, visitor type\, and time slot.\n\n\n\n✦ ArchUp Editorial Insight\nThe Beyond the Façade exhibition uses its immersive installations to show historical building design through spatial storytelling which does not depend on architectural technical studies. The exhibition demonstrates to architects how heritage spaces can be transformed through three elements which include light and sound and digital sequencing to show movement patterns and building components and important geometric shapes. The study presents a relevant case about heritage interpretation and exhibition design which informs building practices but its practical building methods and academic theories need further development. \nCritical Conclusion\nBeyond the Façade functions as a cultural interpretive installation which lacks features of an academic architectural exhibition. The installation represents its highest value through its ability to transform Gaudí’s architectural style into modern interactive media formats which anyone can use. The research offers minimal benefits to technical experts but it shows how heritage buildings can be brought back to life through two methods which include digital storytelling and exhibition design techniques. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/beyond-the-facade-exhibition-2026/
LOCATION:Casa Batlló\, Pg. de Gràcia\, 43 08007 Barcelona\, Barcelona\, Barcelona\, -\, Spain
CATEGORIES:Exhibitions
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ORGANIZER;CN="Casa Batll%C3%B3":MAILTO:info@casabatllo.cat
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260206T080000
DTEND;TZID=UTC:20260503T170000
DTSTAMP:20260503T140829
CREATED:20260203T193000Z
LAST-MODIFIED:20260203T193000Z
UID:10001120-1770364800-1777827600@archup.net
SUMMARY:Full Circle: Richard Fleischner with David Smith\, Christo\, Claes Oldenburg\, Barnett Newman\, & other Monumenta Artists
DESCRIPTION:Overview\nThe art exhibition Full Circle 2026 takes place at Newport Mansions which is located in Newport Rhode Island. The exhibition presents contemporary artworks and archival materials to explore a historic outdoor sculpture exhibition. \nFocus\nThe exhibition shows Richard Fleischner’s artwork together with artwork from the 1974 Monumenta event which includes works by David Smith and Christo and Claes Oldenburg and Barnett Newman. The exhibition presents its contents through an analysis of modern and contemporary sculpture. \nProgram\nThe exhibition operates throughout the day because it displays artworks and sculptural pieces which occupy spaces inside and outside Rosecliff Mansion. Visitors can join guided tours which include member‑exclusive tours that run on selected days to explore Fleischner’s work and related pieces in depth. \nAudience\nThe exhibition appeals to art enthusiasts who include architecture and design professionals and historians and students and museum visitors who want to see modern art and sculpture. \nEvent Details\n\n\n\n\n\nItem\nDetails\n\n\n\n\nDates\n6 February 2026 — 3 May 2026\n\n\nVenue\nRosecliff Mansion\, Newport\, Rhode Island\, USA\n\n\nEvent Type\nArt exhibition\n\n\nAccess\nPublic access with museum admission ticket\n\n\nFees\nIncluded with standard Rosecliff Mansion admission ticket\n\n\n\n\n\n✦ ArchUp Editorial Insight\nAll research studies conducted at Newport Mansions in 1974 demonstrate the relationship between sculpture building design and specific installation locations through the work of Richard Fleischner and his fellow artists. The exhibition uses original sketches and archival materials to demonstrate how artists maintain their connections to nature and their artistic work. The study examines art history through three main areas of sculptural heritage which includes historical estate designs together with their surrounding natural environment. \nClosing Note\nFull Circle revisits a landmark moment in modern sculpture history. The exhibit demonstrates its value through artistic displays which exist within an authentic historical building rather than through architectural evaluation or design assessment. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/full-circle-richard-fleischner-with-david-smith-christo-claes-oldenburg-barnett-newman-other-monumenta-artists/
LOCATION:Rosecliff\, 548 Bellevue Ave Newport\, RI 02840\, Rhode Island\, Rhode Island\, 1\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/02/10_-_FLEISCHNER_Aerial_photograph_of_Sod_Maze__Newport__Rhode_Island___2_.jpg
ORGANIZER;CN="The Preservation Society of Newport County":MAILTO:info@newportmansions.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260211T080000
DTEND;TZID=UTC:20260531T170000
DTSTAMP:20260503T140829
CREATED:20260213T215321Z
LAST-MODIFIED:20260213T215321Z
UID:10001167-1770796800-1780246800@archup.net
SUMMARY:Denise Scott Brown: City Street House 2026
DESCRIPTION:Overview\nThe presentation of *City Street House* as a historic residential development by Denise Scott Brown demonstrates her design methods and urban design and architectural space planning. The session includes presentations\, architectural analysis\, and discussions on postmodern residential design principles. The event connects to broader industry insights found in architecture events. \nFocus\nThe research investigates three areas which include urban residential design and adaptive reuse and the creative development of compact urban spaces. The study will examine how materials are selected and how exterior facades and interior spaces are designed. The lecture complements theoretical discussions presented in architecture articles and it parallels design analysis approaches which architecture competitions use. \nProgram\nThe event begins with a main speech about *City Street House* which is followed by a question-and-answer period with architects and designers and students. The project study provides participants with two activities which include small-group design discussions and urban design examination activities. \nAudience\nThe lecture is open to architects\, urban designers\, architecture students\, researchers\, and professionals who study postmodern residential architecture and urban infill developments. \nEvent Details\n\n\n\nItem\nDetails\n\n\nDate\nFeb 11 – May 31\, 2026 \n\n\nTime\n10am – 8pm \n\n\nVenue\n\nBilbao Fine Arts Museum\n\n\n\nEvent Type\nArchitectural lecture and discussion\n\n\nAccess\nOpen to registered attendees\n\n\nFees\nGeneral Admission — 50 USD / Students — 25 USD\n\n\n\n✦ ArchUp Editorial Insight\nThe professional analysis of postmodern urban residential architecture gets executed through Denise Scott Brown City Street House 2026 which serves as a dedicated research platform. The architecturally design proceeds through three main elements which include spatial design methods and material selection and urban site development patterns for small city areas. The lecture and discussion format enables critical examination of urban infill challenges\, facade articulation\, and interior spatial organization\, offering practical and theoretical insights for architects and students. The event serves academic and professional purposes while it helps people understand adaptive urban housing and real-world applications of postmodern design principles which connect design theory with actual urban environments. \nCritical Conclusion\nThe Denise Scott Brown City Street House 2026 event provides a focused platform to study postmodern urban residential architecture. Its value exists through three elements which include professional development and spatial analysis and design discussion about contextual designs. The event presents academic and professional content while it shows practical difficulties which emerge during urban infill development and small-lot residential construction projects that happen between bigger architectural events. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/denise-scott-brown-city-street-house-2026/
LOCATION:Bilbao Fine Arts Museum\, Eduardo Chillida square. Bilbao\, 48009\, Bilbao\, Bilbao\, -\, Spain
CATEGORIES:Conferences
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/02/DSB_Ciudad_calle_casa_4-1.jpg
ORGANIZER;CN="Bilbao Fine Arts Museum":MAILTO:direction@bilbaomuseoa.eus
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260212T080000
DTEND;TZID=UTC:20261231T170000
DTSTAMP:20260503T140829
CREATED:20260421T090316Z
LAST-MODIFIED:20260421T090316Z
UID:10001407-1770883200-1798736400@archup.net
SUMMARY:He Built This City: Joe Macken's Model
DESCRIPTION:Overview\nThe Museum of the City of New York presents “He Built This City: Joe Macken’s Model\,” an ongoing exhibition in the Dinan Miller Gallery celebrating a handmade architectural model of New York City constructed over 21 years by Queens-born artist Joe Macken. This is the first time the model has been presented to the public in New York City itself\, the subject and muse behind the entire project. \nThe exhibition is a rare instance of an architectural and artistic object being shown in the city it depicts\, creating a direct dialogue between the model and the lived urban reality visible just outside the museum’s walls. Its placement alongside MCNY’s permanent exhibitions “New York at Its Core” and “Timescapes” positions Macken’s work within a broader institutional narrative about how the city has grown\, changed\, and been imagined across time. \nFocus\nJoe Macken began the model in 2004 at his home in Middle Village\, Queens\, later continuing in Clifton Park\, New York. Working entirely by hand using everyday materials including balsa wood\, cardboard\, and glue\, he constructed a model spanning 50 by 27 feet\, comprising over 340 individual sections. The model renders New York’s skyline\, neighborhoods\, and landmarks with a combination of precision\, personal detail\, and artistic imagination rather than strict documentary accuracy. \nMacken started with 30 Rockefeller Plaza\, infusing its familiar form with details that signal his personal artistic vision from the outset. Over two decades\, the model expanded into a comprehensive portrait of the city at a scale that few individual artists have attempted. Its physical dimensions make it less a tabletop model and more an inhabitable environment: the installation in the Dinan Miller Gallery is designed to allow close inspection alongside appreciation of the full scale\, with binoculars provided for visitors to examine individual buildings in detail. When weather permits\, the North Terrace gives access to view the model’s north side. \nAn accompanying video in the gallery documents Macken’s hand-carving process\, giving the exhibition an additional layer that connects the finished object to the years of labour and decision-making behind it. \nBuilt entirely by hand using everyday materials\, the model spans 50 by 27 feet and comprises over 340 individual sections. It renders the city’s skyline\, neighborhoods\, and landmarks with remarkable precision\, character\, and imagination.\nMuseum of the City of New York\, Exhibition Description\, 2026 \nContext within the Museum\nThe exhibition is displayed on the museum’s first floor\, steps away from “New York at Its Core\,” which explores four centuries of urban transformation through themes of density\, diversity\, money\, and creativity\, and “Timescapes\,” which animates the city’s physical expansion over time. The museum frames the three presentations as a conversation: where “New York at Its Core” uses archival and material evidence and “Timescapes” uses moving image\, Macken’s model offers a tactile\, artistic interpretation of the built environment that brings the city’s past and present into a shared\, immersive space. \nArtist\nJoe Macken is a self-taught artist born in Queens\, New York. The model project\, spanning from 2004 to 2025\, represents a sustained commitment to a single work over more than two decades. It has been exhibited previously outside New York; this MCNY presentation marks its debut in the city that is its subject. Macken works in a tradition of outsider and folk art that intersects with architectural model-making\, though his work operates outside professional architectural or planning practice entirely. \nAudience\nThe exhibition is open to the general public and requires timed ticket purchase. Its subject matter and scale make it relevant to audiences spanning architecture and urban history enthusiasts\, artists and craftspeople\, educators and students\, and general visitors with an interest in New York City. The provision of binoculars and an outdoor viewing option signal an installation designed to reward sustained\, careful engagement rather than a quick pass-through. \nEvent Details\n\n\n\nStatus\nOngoing (no closing date listed)\n\n\nLocation\nDinan Miller Gallery\, Museum of the City of New York\, 1220 Fifth Ave at 103rd St.\, New York\, NY\n\n\nHours\nMon–Fri 10am–5pm / Sat–Sun 10am–6pm\n\n\nAdmission / Fees\nTimed tickets required — purchase via mcny.org. General admission applies; MCNY members free.\n\n\nArtist\nJoe Macken (Queens\, NY)\n\n\nModel Dimensions\n50 by 27 feet\, 340-plus individual sections\, constructed 2004–2025\n\n\nLead Support\nTodd DeGarmo / STUDIOS Architecture\n\n\nSponsors\nAmazon\, Matt and Marisa Brown\, RUDIN\n\n\nSupported by\nNYC Department of Cultural Affairs with NYC Council\, and individual donors\n\n\n\n\n✦ ArchUp Editorial Insight\nWhat makes Macken’s model architecturally interesting is not its accuracy but its subjectivity. A professionally produced scale model of New York exists in various forms\, from the Panorama of the City of New York at the Queens Museum to countless planning and real estate representations. Macken’s model is different because it is an artistic statement about the city rather than a document of it: the choices of what to include\, how to render details\, and where to begin (30 Rockefeller Plaza\, not an expected starting point) reveal a personal relationship with the built environment that professional models deliberately suppress. Showing this at MCNY\, where the permanent collection frames the city as a subject of historical and urban scholarship\, is an editorial decision that asks visitors to hold both registers at once: the city as data and the city as feeling. Whether the exhibition succeeds in making that tension explicit rather than merely implicit depends on its interpretive text\, which was not available in the source material. \n\n\nClosing Note\nA 50-by-27-foot handmade model of New York City\, built over 21 years by a single artist in Queens\, shown for the first time in the city it represents: the biographical and material facts of the project are themselves an argument about what it means to pay sustained attention to a place. For those interested in how cities are imagined\, represented\, and loved by the people who live in them\, the exhibition is worth the timed ticket.
URL:https://archup.net/event/he-built-this-city-joe-mackens-model/
LOCATION:Museum of the City of New York\, 1220 5th Ave\, New York\, NY 10029\, New York\, NY\, -\, United States
CATEGORIES:Exhibitions
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ORGANIZER;CN="Museum of the City of New York":MAILTO:info@mcny.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260226T080000
DTEND;TZID=UTC:20260830T170000
DTSTAMP:20260503T140829
CREATED:20260310T205429Z
LAST-MODIFIED:20260310T211213Z
UID:10001297-1772092800-1788109200@archup.net
SUMMARY:Interactive Entertainment Architecture: Culture Lab\, Toronto 1991–1994
DESCRIPTION:Overview\n\nThe exhibition titled “Interactive Entertainment Architecture: Culture Lab\, Toronto 1991–1994” is being presented by the Canadian Centre for Architecture in Montreal\, Quebec. This exhibition will run from February 26 to August 30\, 2026\, in the Octagonal Gallery. The Canadian Centre for Architecture exhibition is about architecture\, media theory\, and digital cultural history. \nFocus\nThis exhibition looks back at Culture Lab\, which was a series of twelve talks that architect Brian Boigon set up at the back of the Rivoli rock club on Queen Street West in Toronto from 1991 to 1994. Culture Lab brought together a lot of people like architects\, philosophers\, artists\, science fiction writers\, and theorists to talk about things like cyberspace\, suburbia\, image culture\, and digital desire. This was a time when old media was being replaced by digital systems. \nBrian Boigon did things a bit differently. He did not want it to feel like school. The people who were talking were sitting on stage with drinks. There were a lot of people in the crowd. They were asked to perform or just give a talk. The way it was set up was like a nightclub or a show. This was done on purpose so that people could think about architecture in a way. \nThe Canadian Centre for Architecture is looking at Culture Lab as a way to get people involved. It is like a show that people can participate in. This makes us think about how people talk about design when they’re not in a classroom or office. The Canadian Centre for Architecture exhibition is really about Interactive Entertainment Architecture and how it can be used to get people to think about architecture in a way. \n\nA novel format elaborated to study the world of space\, architecture\, and form through the lens of other disciplines — using the codes of entertainment to break from the confined parochialism of academia.\nCCA Exhibition Description\, 2026 \nProgram\nExhibition Display\nThe exhibition includes some video recordings of the Culture Lab symposia that people have not seen before. These videos are shown on thirty-six screens at once\, which breaks up and puts back together the way the symposium looked originally. The people in these videos include Atom Egoyan\, Elizabeth Grosz\, Rosalind Krauss\, Sanford Kwinter\, Bruce Sterling\, Rem Koolhaas\, Peter Eisenman\, and Liz Diller. \nThe Culture Lab symposia feature four projects by Boigon: Cartoon Regulators\, SpillVille\, Splinters\, and “Speed Reading Tokyo.” All of these projects demonstrate how Boigon worked to design interactive media as an artist\, a data systems designer\, and a design theorist. \nExhibition Opening\nThe exhibition opened on February 26 2026. Brian Boigon talked about the ideas behind the Culture Lab. Then the person who put the exhibition together\, Farzin Lotfi-Jam\, gave a talk about how he chose what to include. The exhibition opened at 5:00 p.m. The talk started at 6:00 p.m. In the Paul-Desmarais Theatre. \n\n\nCredits\nCurator: Farzin Lotfi-Jam\nCuratorial Assistant: Charlie-Anne Côté\nGraphic Design: House9\, Montréal\nSoftware Development: Salim Lounis\nDesign Development: Sébastien Larivière\, Anh Truong\nSupported by the Graham Foundation for Advanced Studies in the Fine Arts\, the Government of Québec\, the Canada Council for the Arts\, and the Conseil des arts de Montréal. The exhibition draws from Brian Boigon’s fonds held in the CCA’s permanent collection. \nAudience\nThe exhibition is for people who study architecture\, history\, and media. It is also for people who work in these fields and are interested in culture and new ways of presenting information. The exhibition is at the CCA. It will be open until August 2026. This means that people who are just curious about architecture and media history can also go and see it. The exhibition is a place for anyone who wants to learn more about the connections between architecture and media history. The architecture researchers and historians\, media theorists\, and practitioners will like it because it is about culture and experimental discourse formats. The general public will like it because it is about the intersections of architecture and media history. \nEvent Details\n\n\n\nExhibition Dates\nFebruary 26 – August 30\, 2026\n\n\nVenue\nOctagonal Gallery\, Canadian Centre for Architecture\, Montreal\, QC\n\n\nEvent Type\nExhibition\n\n\nOpening Hours\nThu: 11 am–9 pm / Fri–Sat: 11 am–6 pm / Sun: 11 am–5 pm\n\n\nAdmission\n$15 adults / $10 seniors and students / Free under 18 / Free Thursdays after 5 pm\n\n\nCurator\nFarzin Lotfi-Jam\, Ithaca\n\n\n\n\n✦ ArchUp Editorial Insight\nThe Culture Lab is important not because of what it says but because of how it says it. It shows that people can talk about architecture in a way like a live show without making it stupid. The CCA decided to show this with a video display with thirty-six channels. This is like the way it was presented\, which is good for people who want to analyze it\, but it might make the atmosphere more important than the actual points being made. The fact that these recordings were not seen for over thirty years makes you wonder how architecture stores its experimental ideas. When places like the CCA find this old material\, are they trying to add to what we know about architecture or just confirm what we already know about the Culture Lab and its significance in the field of architecture? \n\n\nClosing Note\nThe exhibition will be open all the way until the summer of 2026. This is a long time for a show like this. The exhibition is about a series of talks that happened in clubs in Toronto in the 1990s. These talks were really about how digital theory performancec\, performance\, and architecture are all connected. The exhibition might be interesting to people who’re not really into this kind of thing\,g but it depends on how well the big video display can show what made the original talks so important. The digital turn is something that happened a long time ago\, so the exhibition needs to make people understand why it was such a big deal back then. The exhibition is trying to show what the original talks were all about. That is the key to making the exhibition work.
URL:https://archup.net/event/interactive-entertainment-architecture-culture-lab-toronto-1991-1994/
LOCATION:Canadian Centre for Architecture\, 1920\, rue Baile Montréal\, Quebec H3H 2S6\, Quebec\, Quebec\, -\, Canada
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/03/CCA73102_ARCH289768_R.jpg
ORGANIZER;CN="Canadian Centre for Architecture":MAILTO:info@cca.qc.ca
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260305T080000
DTEND;TZID=UTC:20260920T170000
DTSTAMP:20260503T140829
CREATED:20260304T225208Z
LAST-MODIFIED:20260304T225208Z
UID:10001273-1772697600-1789923600@archup.net
SUMMARY:Architecture of Connection
DESCRIPTION:Overview\nThe exhibition at the Austrian Cultural Forum New York titled “Architecture of Connection” is a major solo exhibition dedicated to the work of internationally renowned Austrian architect Dietmar Feichtinger and his studio. Founded in Paris in 1994\, the practice has developed a distinctive architectural approach grounded in structural clarity\, technical precision\, and sustained engagement with public space.\nTheme\nFeichtinger’s work spans bridges\, transportation infrastructure\, educational and cultural institutions\, residential buildings\, and civic projects. His architecture investigates how built environments can function as connective systems—linking people\, places\, and urban contexts. The practice emphasizes visible structural concepts where engineering systems and construction details are integral to the architectural language\, aligning architecture and engineering in a coherent design methodology focused on accessibility\, spatial legibility\, and long-term performance.\nExhibition Details\n\n\n\nItem\nDetails\n\n\nDates\nMarch 5 – September 20\, 2026\n\n\nOpening\nMarch 5\, 2026\, 6:00 PM\n\n\nVenue\nACFNY – Austrian Cultural Forum New York\, 11 E 52nd St\, New York\, NY 10022\, USA\n\n\nOpening Hours\nDaily from 10:00 AM – 6:00 PM\n\n\nOrganizer\nDietmar Feichtinger Architects\n\n\nWebsite\nacfny.org\n\n\n\n✦ ArchUp Editorial Insight\nThe “Architecture of Connection” exhibition at the Austrian Cultural Forum New York showcases the work of renowned Austrian architect Dietmar Feichtinger and his studio. It highlights their distinctive approach that combines structural clarity\, technical precision\, and sustained engagement with public space. Feichtinger’s projects range from bridges and transportation infrastructure to educational\, cultural\, and residential buildings\, emphasizing how built environments function as connective systems linking people\, places\, and urban contexts. The exhibition underlines the integration of architecture and engineering\, focusing on accessibility\, spatial legibility\, and long-term performance.\nHighlights\nThe exhibition features models\, drawings\, films\, and panoramic documentation of completed and ongoing projects. It highlights the collaborative nature of architecture\, acknowledging engineers\, craftsmen\, and clients\, situating design within a broader collective process.\nExplore the Latest Architecture Exhibitions & Conferences\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/architecture-of-connection/
LOCATION:ACFNY Austria Cultural Forum NY\, 11 E 52nd St\, NY 10022\, New York\, NY\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/03/instagram_02.jpg
ORGANIZER;CN="Dietmar Feichtinger Architects":MAILTO:paris@feichtingerarchitects.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260312T080000
DTEND;TZID=UTC:20260630T170000
DTSTAMP:20260503T140829
CREATED:20260219T000408Z
LAST-MODIFIED:20260219T000408Z
UID:10001193-1773302400-1782838800@archup.net
SUMMARY:Core Samples 2026
DESCRIPTION:Overview\nCore Samples 2026 is an architectural exhibition which examines the features of architectural design through examination of various artifacts from research and architectural drawings and material testing. The exhibition displays evidence from the design and construction phase which shows how architects develop their work through experimental and testing processes.\nFocus\nThe exhibition explores architectural development through documented process material\, including:\n\n 	Material research samples and fabrication studies\n 	Conceptual and technical architectural drawings\n 	Structural and assembly mock-ups\n 	Construction fragments and prototype components\n 	Documentation revealing design evolution\n\nThe curatorial approach defines architecture as a research discipline which investigates through testing and hands-on material examination.\nProgramme\nThe programme operates mainly as an exhibition for public viewing within a gallery space yet it can include:\n\n 	Curated installation displays\n 	Research artifact presentations\n 	Interpretive architectural documentation panels\n 	Educational exhibition material explaining design workflows\n\nThe format emphasizes observation and interpretation rather than conferences\, trade booths\, or commercial networking sessions.\nAudience\n\n 	Architects and design professionals\n 	Architecture students and academic researchers\n 	Curators and architectural historians\n 	Museum and gallery visitors interested in design processes\n 	Professionals studying material experimentation and fabrication methods\n\nEvent Details\n\n\n\nItem\nDetails\n\n\nDates\n12 March 2026 — 30 June 2026\n\n\nLocation\nLos Angeles\, California\, United States\n\n\nEvent Type\nArchitecture research exhibition\n\n\nAccess\nPublic exhibition access subject to venue entry policy\n\n\nFees\nTicket price not officially specified; standard museum admission rules may apply\n\n\n\n✦ ArchUp Editorial Insight\nThe research-backed architectural study of Core Samples 2026 demonstrates its findings through building material testing and construction material testing and documentation of building development procedures. The curatorial method helps design professionals understand how design choices develop through design testing and model creation and system testing. The exhibition provides limited value for market networking and construction research but establishes itself as an excellent research tool to study architectural design processes and building construction practices and the different development phases which lead to building completion.\nCritical Conclusion\nThe research-based architectural exhibition Core Samples 2026 presents a research-based architectural exhibition which shows architectural work through its processes and material research and experimental work. The research value of the project comes from its ability to show hidden architectural production processes while showing architecture as an ongoing academic field. The project provides minimal professional contacts and business opportunities yet it delivers important benefits for architectural education and design methodology research.\nExplore the Latest Architecture Exhibitions & Conferences\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/core-samples/
LOCATION:UCLA AUD\, Perloff Hall\, Los Angeles\, CA\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/avif:https://archup.net/wp-content/uploads/2026/02/fwk5rhowgz39hz0r.avif
ORGANIZER;CN="UCLA Architecture and Urban Design":MAILTO:admissions@aud.ucla.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260401T080000
DTEND;TZID=UTC:20260521T170000
DTSTAMP:20260503T140829
CREATED:20260401T083254Z
LAST-MODIFIED:20260401T083254Z
UID:10001381-1775030400-1779382800@archup.net
SUMMARY:Zak World of Façades Canada — Vancouver 2026
DESCRIPTION:Overview\nZak World of Façades Canada — Vancouver 2026 is the 218th edition of the Zak World of Façades international conference series on façade design and engineering\, organised by Zak Group\, an India-based events company headquartered in Chennai. The event takes place on 21 May 2026 at the Vancouver Convention Centre in Vancouver\, British Columbia\, Canada. It is a single-day\, invitation-only professional conference exclusively for architects\, consultants\, contractors\, developers\, and building industry specifiers. \nThe series has completed over 209 editions globally\, attracting more than 65\,000 delegates across events in over 30 countries. The Vancouver edition sits within a busy 2026 calendar that includes parallel editions in Rotterdam\, Manchester\, Limassol\, Lisbon\, Chennai\, Bangkok\, and others. For the Vancouver event\, the organiser lists the venue as Vancouver Convention Centre\, though an earlier third-party listing cited the Paradox Hotel at 1161 West Georgia Street. Attendees should confirm the venue directly with the organiser before travel. \nFormat and Concept\nThe Zak World of Façades format is a single-day symposium structured around expert keynote presentations and panel discussions\, divided into three to four sessions separated by networking break-out intervals. A compact exhibition area is set up in the networking zone\, where delegates can interact with product and solution sponsors showcasing the latest innovations in façade materials\, systems\, and technology. \nAttendance is by pre-qualification only. Complimentary seats are reserved exclusively for architects\, consultants\, contractors\, developers\, fabricators\, government officials\, and project management consultants. All registrations are subject to validation by the organiser. The event is designed to be time-efficient\, concentrating relevant industry knowledge and networking into a single structured day rather than a multi-day trade floor format. \nProgramme Focus\nThe programme brings together domain experts in façade design\, engineering\, procurement\, and execution to share perspectives on constructing high-performance\, safe\, sustainable\, and long-lasting building envelopes. International keynote speakers present iconic project case studies and new innovative concepts. Specific speaker names and session topics for the Vancouver 2026 edition have not yet been published; the detailed programme is typically released closer to the event date on the official website at facadescanada.com. \nBased on the format of previous Canadian editions\, typical session themes include high-performance curtain wall systems\, climate adaptation and building science applied to the building envelope\, façade engineering for complex geometries\, fire performance of façade assemblies\, adaptive reuse and heritage façade modernisation\, sustainable cladding materials\, and digital fabrication in façade delivery. \nAudience\nThe event is specifically designed for architects\, developers\, general contractors\, façade consultants\, façade contractors\, sustainability and ESD consultants\, fire consultants\, glass processors\, structural consultants\, cost consultants\, quantity surveyors\, project management consultants\, and related building specifiers. The pre-qualification policy ensures a high-quality delegate mix of active specifiers and decision-makers in the Canadian construction and architecture sector. \nEvent Details\n\n\n\nItem\nDetails\n\n\n\n\nEvent Name\nZak World of Façades Canada — Vancouver 2026\n\n\nEdition\n218th edition of the global series\n\n\nDate\n21 May 2026\n\n\nVenue\nVancouver Convention Centre\, Vancouver\, BC\, Canada (confirm with organiser before travel)\n\n\nFormat\nSingle-day invitation-only conference with exhibition networking area\n\n\nOrganiser\nZak Group\, Chennai\, India. Tel: +91 44-42959595. Website: zakworldoffacades.com\n\n\nAudience\nTrade professionals only — architects\, consultants\, contractors\, developers\, specifiers\n\n\nAdmission\nComplimentary for qualified professionals — subject to registration validation\n\n\nFrequency\nEvery two years for Vancouver specifically; other Canadian cities host annual editions\n\n\nContact\ninfo@zakgroup.com / facadescanada.com\n\n\n\n✦ ArchUp Editorial Insight\nZak World of Façades occupies an unusual position in the professional conference landscape: it is one of the very few event series that operates with genuine international scale (218 editions across 30-plus countries) while maintaining a highly focused disciplinary scope. Façade design and engineering sits at the intersection of architecture\, structural engineering\, materials science\, sustainability\, and building physics\, and the concentration of this knowledge in a single-day specialist format has proven consistently attractive to working professionals who cannot commit to multi-day general conferences. The pre-qualification policy is a meaningful differentiator: it ensures that the room is populated with active decision-makers rather than students or general public attendees\, which directly benefits exhibitors and sponsors and raises the quality of networking. The Vancouver edition’s focus on the Canadian West Coast market is relevant given British Columbia’s distinctive regulatory environment\, climate conditions\, and concentration of high-performance building projects. The specific programme for the 2026 Vancouver edition has not yet been published\, which is the primary limitation for advance assessment. Architects and engineers working on envelope specifications\, sustainable cladding selection\, or curtain wall systems in the Canadian market will find this a well-targeted one-day investment. \nConclusion\nZak World of Façades Canada — Vancouver 2026 is the 218th global edition of this specialist façade conference series\, taking place on 21 May 2026 in Vancouver. Admission is complimentary for qualified professionals subject to registration validation. Register and confirm venue details at facadescanada.com or contact info@zakgroup.com. \n\n 
URL:https://archup.net/event/zak-world-of-facades-canada-vancouver-2026/
LOCATION:Paradox Hotel\, Vancouver\, 1161 West Georgia Street Vancouver BC\, V6E OC6\, Vancouver\, Vancouver\, -\, Canada
CATEGORIES:Exhibitions
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ORGANIZER;CN="Zak Group":MAILTO:info@zakgroup.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260402T080000
DTEND;TZID=UTC:20260718T170000
DTSTAMP:20260503T140829
CREATED:20260421T162218Z
LAST-MODIFIED:20260421T162218Z
UID:10001409-1775116800-1784394000@archup.net
SUMMARY:Latinitudes: A Collection of Latin American Modern Architecture
DESCRIPTION:Overview\nThe Graham Foundation for Advanced Studies in the Fine Arts presents “Latinitudes: A Collection of Latin American Modern Architecture” at Madlener House in Chicago\, running April 2 through July 18\, 2026. This is the first presentation of the exhibition in the United States\, following a tour that has reached institutions across Latin America and Europe since its São Paulo debut in 2015. \nThe exhibition brings together more than 100 photographs by Brazilian visual artist Leonardo Finotti\, curated by Brazilian architect Michelle Jean de Castro. It surveys modern architecture across twelve Latin American cities\, proposing a horizontal framework for understanding modernism as a shared\, parallel development across the region rather than a series of isolated national stories. It is presented in partnership with the Chicago Architecture Biennial\, selected by Biennial Artistic Director Florencia Rodriguez as a continuation of the CAB’s engagement with Latin American architecture in its SHIFT edition. \nFocus\nThe title combines “latitudes” and “Latin” to propose a geographical and cultural framework for reading Latin American modernism horizontally\, across shared histories and climates\, rather than vertically\, through individual national canons. The exhibition covers housing\, civic\, and cultural buildings by key figures of twentieth-century Latin American modernism\, presenting them within a connected architectural landscape that spans the continent. \nFinotti’s photography is not straightforwardly documentary. Trained as an architect and later at the Bauhaus Foundation in Dessau\, he works at the intersection of architectural photography and independent artistic practice\, producing images that reinterpret rather than merely record the buildings they depict. The exhibition asks viewers to consider how modern architecture emerged in parallel across Latin America and throughout the Americas\, with Chicago\, a city foundational to modern architectural experimentation\, serving as a particularly resonant viewing context. \nCities Represented\nBuenos Aires\, Argentina\nBogotá\, Colombia\nCaracas\, Venezuela\nGuatemala City\, Guatemala\nHavana\, Cuba\nLima\, Peru\nMexico City\, Mexico\nMontevideo\, Uruguay\nQuito\, Ecuador\nSan José\, Costa Rica\nSantiago\, Chile\nSão Paulo\, Brazil\nArchitects Represented\nLuis Barragán\nLina Bo Bardi\nRoberto Burle Marx\nFélix Candela\nEladio Dieste\nEmilio Duhart\nRicardo Legorreta\nPaulo Mendes da Rocha\nOscar Niemeyer\nJuan O’Gorman\nMario Pani\nRicardo Porro\nRogelio Salmona\nClorindo Testa\nCarlos Raúl Villanueva\nCombining the words “latitudes” and “Latin\,” Latinitudes proposes a horizontal framework connecting cities across shared geographies and histories.\nGraham Foundation Exhibition Description\, 2026 \nProgram\nOpening and Talk by Leonardo Finotti\nThe exhibition opens on April 2\, 2026 at 6pm with a talk by photographer Leonardo Finotti. This event offers the primary opportunity to hear from the exhibition’s originating artist on the project’s development and photographic approach over more than a decade. \nTalk by Catherine Seavitt — April 30\n“Military Gardens: Roberto Burle Marx in Brasília” — a talk expanding on the exhibition’s engagement with landscape architect and artist Roberto Burle Marx\, one of the key figures represented in the photographs\, in the specific context of Brasília’s monumental modernist project. \nTalk by Patricio del Real — June 25\n“Constructing Latin America: Architecture\, Politics\, and Race at the Museum of Modern Art” — a talk examining how Latin American architecture has been institutionally framed and exhibited within North American cultural contexts\, a subject with direct relevance to the exhibition’s own first US presentation. \nOrigins and Travel History\nLatinitudes originated as a project of LAMA.SP (Latin American Modern Architecture\, São Paulo)\, an artist-run space co-founded by Michelle Jean de Castro and Leonardo Finotti. First presented in São Paulo in 2015\, accompanied by a book published by Lars Müller (“A Collection of Latin American Modern Architecture\,” 2016)\, the exhibition has since traveled to Bogotá\, Cuenca\, Guadalajara\, Mexico City\, Montevideo\, and Quito. The Chicago presentation at the Graham Foundation is its first US venue\, making it simultaneously a local debut and the culmination of a decade-long international touring history. \nPhotographers and Curator\nLeonardo Finotti is a visual artist based in São Paulo whose work spans modern architectural photography and documentation of anonymous or informal urban spaces. His photographs are held in the collections of MoMA New York\, the Bauhaus Dessau Foundation\, Architekturzentrum Wien\, and other major institutions. He has represented Brazil at two Venice Architecture Biennials. Michelle Jean de Castro is an architect and curator based in Stockholm whose practice focuses on spatial dimensions of memory\, absence\, and displacement. Her curatorial work includes ongoing projects examining Afro-religious diasporic landscapes in Brazil and West Africa. The exhibition is organized at the Graham Foundation by director Sarah Herda and program manager Ava Barrett. \nAudience\nThe exhibition is open to the public at Madlener House. Its primary audience is architects\, historians of design\, curators\, and practitioners interested in Latin American modernism\, architectural photography\, and the politics of how non-Western or non-European architectural traditions are archived and exhibited. The accompanying talk programme extends the exhibition’s reach to academic and research audiences engaged with these questions. \nEvent Details\n\n\n\nExhibition Dates\nApril 2 – July 18\, 2026\n\n\nOpening Event\nApril 2\, 2026\, 6pm — Talk by Leonardo Finotti\n\n\nRelated Talk 1\nApril 30\, 2026 — Catherine Seavitt on Roberto Burle Marx in Brasília\n\n\nRelated Talk 2\nJune 25\, 2026 — Patricio del Real on Latin America at MoMA\n\n\nVenue\nGraham Foundation / Madlener House\, 4 West Burton Place\, Chicago\, Illinois 60610\n\n\nAdmission / Fees\nFree and open to the public (Graham Foundation standard admission policy applies — verify at grahamfoundation.org)\n\n\nPhotographer\nLeonardo Finotti\, São Paulo\n\n\nCurator\nMichelle Jean de Castro\, Stockholm\n\n\nOrganized by\nSarah Herda (Director) and Ava Barrett\, Graham Foundation\n\n\nPartner\nChicago Architecture Biennial\n\n\nContact\ninfo@grahamfoundation.org / +1 312 787 4071\n\n\n\n\n✦ ArchUp Editorial Insight\nWhat makes Latinitudes worth attention beyond its subject matter is its framing proposition: that Latin American modernism should be read horizontally across a shared continental geography rather than as a collection of national stories subordinate to European or North American modernist narratives. This is not a new argument in architectural history\, but presenting it photographically\, across twelve cities\, at an institution whose own history is inseparable from Chicago modernism\, creates a productive friction. Finotti’s photographs are the exhibition’s critical mechanism: trained as an architect and at the Bauhaus\, he is positioned between disciplinary insider and independent artist\, which allows his images to do something different from either pure documentation or pure aesthetic appropriation. The accompanying talk by Patricio del Real\, examining how Latin American architecture has been institutionally framed at MoMA\, is the most intellectually charged element of the programme\, because it directly raises the question of what it means for this exhibition to arrive at an American institution for the first time now. \n\n\nClosing Note\nA decade after its São Paulo debut\, Latinitudes arrives in the United States at a moment when the institutional frameworks for understanding non-Western modernisms are being actively renegotiated. The Graham Foundation’s programme history\, which includes “Architecture of Independence: African Modernism” (2016) and “Every Building in Baghdad: The Rifat Chadirji Archives” (2016)\, positions this exhibition within a sustained curatorial interest in architectural modernisms outside the canonical European and North American lineage. Whether Latinitudes extends that conversation or restates it will depend on how the programme develops across its three-month run.
URL:https://archup.net/event/latinitudes-a-collection-of-latin-american-modern-architecture/
LOCATION:Graham Foundation\, 4 W. Burton Pl.\, Chicago\, IL 60610\, Chicago\, IL\, -\, United States
CATEGORIES:Exhibitions
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ORGANIZER;CN="Graham Foundation":MAILTO:info@grahamfoundation.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260404T080000
DTEND;TZID=UTC:20260523T170000
DTSTAMP:20260503T140829
CREATED:20260421T212313Z
LAST-MODIFIED:20260421T212313Z
UID:10001411-1775289600-1779555600@archup.net
SUMMARY:Recycle Group: Too Much
DESCRIPTION:Overview\nGalerie Suzanne Tarasieve in Paris presents “TOO MUCH!” by Russian collective Recycle Group\, with invited guests Blue Noses\, running April 4 through May 23\, 2026 at the gallery’s Marais location. The exhibition opened on Saturday April 4 with a vernissage from 6 to 9pm. \nTOO MUCH! is Recycle Group’s fourth solo exhibition at the gallery\, following “Novus Ordo Seclorum” (2016)\, “0.0” (2019)\, and “Expired Reality” (2023). The collective’s practice sits at the intersection of contemporary art and design research\, working with digital structures\, religious iconography\, material excess\, and the relationship between analogue tradition and algorithmic culture. The exhibition includes new works produced specifically for this presentation alongside work from 2025. \nFocus\nThe exhibition takes as its subject the condition of the human being caught in a world of excess: an excess of data\, signals\, meanings\, and of one’s own creations\, which begin to live autonomous lives. The project’s central phenomenon is the work that outgrows its author\, from ancient myths to contemporary digital structures that reshape reality faster than human perception can follow. \nRecycle Group positions artificial intelligence not as a new phenomenon but as the latest iteration of a recurring human predicament: the cultural form that escapes its creator and becomes an autonomous force. This framing connects the exhibition to a longer arc of civilizational anxiety about making things too powerful to control\, from Frankenstein to the Golem to contemporary machine learning systems. \nThe collaborative element with Blue Noses adds what the press release describes as a precise and ironic accent\, revealing the fragility of perception and the inherent absurdity of attempts to keep everything under control. The overall register of the exhibition is described as “punk classicism\,” a phrase that captures the collision between archaic material languages (burned wood\, carved inscription\, sacred text) and the vocabulary of digital design and overloaded information systems. \nTOO MUCH is a space of punk classicism and digital structures\, where the human being tries to preserve itself in a world that has long since become more than it can contain.\nRecycle Group / Galerie Suzanne Tarasieve\, Press Release\, 2026 \nWorks\nBurn Series (2026)\nThe exhibition’s anchor works are large-scale pieces in burned wood\, polyurethane resin\, silicone\, and LED light. “Burn” (200 x 200 cm) is the largest\, presenting a surface of cracked\, scorched wood covered in incandescent writing drawn from nine languages simultaneously: Latin\, Italian\, French\, German\, Russian\, Greek\, Arabic\, Japanese\, and English. The words are fragmentary\, incomplete\, blending into one another to form a polyglot palimpsest. The assembled texts circle around a single idea from Ecclesiastes 1:18: “For in much wisdom is much grief\, and he that increaseth knowledge increaseth sorrow.” The work enacts its subject directly: it is Too Much made literal\, a universal warning about excess rendered nearly unreadable by its own density. “Message 1:13-18” (60 x 60 cm) and “I still have many things to say to you\, but you cannot bear them now” (60 x 90 cm) are smaller panels in the same material language. \nInformation Jungle Series (2026)\nThree large sculptural works in thermoformed plastic mesh\, “Information Jungle 2.0\,” “3.0\,” and “4.0” (each 210 x 110 x 40 cm)\, extend the excess theme into three-dimensional form. The mesh structures function as physical analogues of information overload: dense\, layered\, partially transparent\, simultaneously structural and entrapping. \nResistance from AI (2025)\nA four-panel installation in thermoformed plastic mesh (220 x 470 x 75 cm total) representing the resistance\, or attempted resistance\, to AI’s autonomous development. The work’s physical form\, a barrier-like mesh that is both permeable and obstructing\, embodies the ambiguity of that resistance. \n3D Print Series (2025)\n“Madonna” (30 x 30 cm) and “All Saints. Vortex” (30 x 60 cm)\, both in 3D-printed recycled plastic with LED lighting\, continue the collective’s practice of reprocessing religious iconography through digital fabrication techniques\, placing sacred imagery within a material and production context that is entirely contemporary. \nThe Blue Noses Collaboration\nBlue Noses is a Russian conceptual art duo known for their ironic\, often absurdist engagement with political and cultural symbols. Their presence in the exhibition functions as a counterweight to Recycle Group’s more technically elaborate and materially dense practice\, introducing irreverence and humour as analytical tools for examining the same conditions of excess and loss of control. \nReference: Das Rheingold in Salzburg\nThe press release draws a direct parallel between the exhibition and the Salzburg production of Wagner’s Das Rheingold directed by Kirill Serebrennikov\, running almost simultaneously. The connection is conceptual: a classical work that demonstrates its capacity to exist as a self-sustaining entity and to project an image of the future pushed to absurdity\, a world governed by human fantasies and their consequences. This serves as a mirror to the exhibition’s central argument about autonomous creations. \nAudience\nThe exhibition is open to the general public at Galerie Suzanne Tarasieve\, Tuesday through Saturday\, 11am to 7pm. It addresses a broad art and design audience interested in contemporary media critique\, the intersection of spatial and material practice with digital culture\, and the use of religious and classical references as frameworks for understanding technological transformation. \nEvent Details\n\n\n\nExhibition Dates\nApril 4 – May 23\, 2026\n\n\nOpening\nSaturday April 4\, 2026\, 6–9pm\n\n\nVenue\nGalerie Suzanne Tarasieve\, 7 rue Pastourelle\, 75003 Paris (Marais)\n\n\nHours\nTuesday–Saturday\, 11am–7pm\n\n\nAdmission / Fees\nFree entry (standard gallery admission)\n\n\nArtists\nRecycle Group\, with invited guests Blue Noses\n\n\nGallery\nGalerie Suzanne Tarasieve\n\n\nContact\ninfo@suzanne-tarasieve.com / +33 (0)1 42 71 76 54\n\n\n\n\n✦ ArchUp Editorial Insight\nRecycle Group’s practice has been consistent enough across four exhibitions at this gallery to make the thematic framing of TOO MUCH! feel like a continuation rather than a departure: the collective has long worked at the intersection of digital excess and archaic material form. What is sharper in this exhibition is the specificity of the AI argument\, which avoids both utopian and dystopian clichés by positioning artificial intelligence within a much older pattern of creations that outgrow their creators. The Ecclesiastes citation is not decoration; it is the conceptual core\, and the decision to render it in nine languages simultaneously\, in burned wood\, nearly illegible\, is a precise material decision. The warning against excess is itself presented in excess. The collaboration with Blue Noses introduces a necessary tonal counterweight: irony and absurdism are better analytical instruments for this subject than solemnity\, and their inclusion prevents the exhibition from mistaking its own gravity for insight. \n\n\nClosing Note\nTOO MUCH! runs through the end of May 2026\, giving it a seven-week window in one of Paris’s most active gallery districts. For those interested in how contemporary art engages with questions of digital culture\, material memory\, and the limits of human comprehension\, the exhibition offers a carefully constructed argument in object form. The press release’s description of the show as “punk classicism” is the most useful single phrase for understanding what Recycle Group is attempting here.
URL:https://archup.net/event/recycle-group-too-much/
LOCATION:Galerie Suzanne Tarasieve\, 7 rue Pastourelle 75003 PARIS\, Paris\, Paris\, -\, France
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/webp:https://archup.net/wp-content/uploads/2026/04/2026-Hube-spread-scaled.webp
ORGANIZER;CN="Suzanne Tarasieve":MAILTO:info@suzanne-tarasieve.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260406T080000
DTEND;TZID=UTC:20260518T170000
DTSTAMP:20260503T140829
CREATED:20260226T234929Z
LAST-MODIFIED:20260226T234929Z
UID:10001222-1775462400-1779123600@archup.net
SUMMARY:UB Summer Study Exhibition 2026
DESCRIPTION:Overview\nThe University at Buffalo School of Architecture and Planning in Buffalo New York presents the UB Summer Study Exhibition. The exhibition displays student design work from summer programs as part of the Spring 2026 Public Programs.\nFocus\nThe exhibition displays student work which students created in different locations throughout the United States and other countries including Buffalo New York and New York City and Costa Rica and Ireland and Japan and Spain. The study investigates three types of design research which include cross-cultural research and material research and environmental design research. ArchUp education coverage documents all student work which academic exhibitions show.\nProgram\nThe event features an opening during UB’s Open Studio which shows drawings and guidebooks and postcards and mappings and digital fabrications. The works demonstrate how different experiences shape design thinking through their research activities and experimental work and their interactions with new situations. The ArchUp events section together with ArchUp architecture coverage both present similar academic showcases and exhibitions.\nAudience\nThe exhibition is designed to attract students faculty members architects and members of the public who want to learn about architectural education and worldwide design viewpoints.\nEvent Details\n\n\n\nDates\nApril 6 – May 18 2026\n\n\nOpening\nWednesday\, April 8 2026\, 4:30 – 8:00 PM\n\n\nVenue\nCrosby Hall\, 1st Floor\, UB South Campus\, 280 Hayes Rd\, Buffalo\, NY 14214\, USA\n\n\nEvent type\nExhibition\n\n\nAccess\nIn person or via Zoom\n\n\nCurator\nMaia Peck\, Clinical Assistant Professor and Director of Exhibitions\n\n\nFees\nFree\n\n\n\n✦ ArchUp Editorial Insight\nThe UB Summer Study Exhibition 2026 presents a curated overview of student work which showcases their research across different cultures and environmental studies and material studies. The exhibition displays different architectural designs which show how architects develop their design process through their experiences with different building sites. The event demonstrates educational design processes through its documentation of drawings and mappings and digital fabrications which show how design processes develop through educational environments. The academic environment shows its worth through the demonstration of how scientists use their observations to create new research designs and develop their fundamental ideas of research.\nClosing Note\nThe exhibition documents diverse summer studio work which shows how students learn through their interactions with different cultures and environmental systems. The system generates a record of testing which operates independently of both commercial activities and professional demonstrations that occur at major events.\n\nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/ub-summer-study-exhibition-2026/
LOCATION:School of Architecture and Planning\, University at Buffalo\, South Campus Hayes Hall 250 Hayes Road Buffalo\, New York 14214-8030\, New York\, NY\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/02/1768574418948.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260406T080000
DTEND;TZID=UTC:20260518T170000
DTSTAMP:20260503T140829
CREATED:20260321T065419Z
LAST-MODIFIED:20260321T065419Z
UID:10001313-1775462400-1779123600@archup.net
SUMMARY:What We Did Last Summer: UB School of Architecture and Planning Summer Study Exhibition 2026
DESCRIPTION:Overview\nThe University at Buffalo School of Architecture and Planning presents “What We Did Last Summer\,” a student work exhibition documenting the outcomes of UB’s summer study programs\, both domestic and international. The exhibition runs April 6 through May 18\, 2026\, in Crosby Hall on UB’s South Campus in Buffalo\, New York. An opening event takes place on April 8\, 2026\, with registration available online. \nThe exhibition gathers work produced across studios\, workshops\, and seminars held in multiple locations during the summer. Rather than a conventional student showcase\, it functions as a collective record of learning conducted outside the standard studio environment\, tracking how direct engagement with unfamiliar geographies\, climates\, materials\, and practices reshapes design thinking. \nFocus\nThe work on display spans drawings\, guidebooks\, postcards\, mappings\, and digital fabrications produced during summer programs across seven locations. Each program placed students in cultural and environmental contexts distinct from their home institution\, asking them to translate lived experience into design output. The exhibition positions this material not as polished final projects but as a process record: evidence of encounter with unfamiliar scale\, tradition\, climate\, and modes of practice. \nThe range of output formats is itself significant. Guidebooks and postcards alongside technical drawings and digital fabrications suggest that the programs encouraged diverse representational modes\, treating documentation and communication as design practices in their own right rather than secondary to built or drawn proposals. This reflects a pedagogical position aligned with contemporary architectural education’s broader engagement with field research and ethnographic methods. \nThese works offer a record of learning that extends beyond the typical studio or classroom setting\, demonstrating how exposure to diverse places and ways of working can expand design imagination\, critical reflection\, and our disciplinary perspectives.\nUB School of Architecture and Planning\, Exhibition Description\, 2026 \nProgram Locations\nThe exhibition brings together work from eight summer program locations\, spanning domestic and international contexts across different climatic\, cultural\, and urban conditions. \nBuffalo\, NY\nNew York City\nCosta Rica\nIreland / Scotland\nItaly\nSpain\nEurope (multi-site)\nJapan\nThe Ireland/Scotland program is directed by Kenneth Mackay. Full program director credits for the remaining locations were not listed in the exhibition documentation available at the time of writing. \nCuratorial Approach\nThe exhibition is curated by Maia Peck\, Clinical Assistant Professor and Director of Exhibitions at UB’s School of Architecture and Planning. Peck previously co-curated the “In Her Steps: Bethune Exhibition” (also on view at UB in Spring 2026)\, which documented 18 women architects across 20 years of the Bethune Lecture Series. Her curatorial practice at UB appears focused on making visible work that institutional formats\, lecture series\, studio reviews\, and summer programs produce but do not typically preserve or display for broader audiences. \nAudience\nThe exhibition is open to the public at Crosby Hall\, UB South Campus\, through May 18\, 2026. Its primary audience is the UB architecture and planning community\, though its location and six-week run make it accessible to local and visiting professionals interested in design education and field-based pedagogies. The mix of program locations and output formats gives it broader relevance for those tracking how North American architecture schools are structuring international and experiential learning. \nEvent Details\n\n\n\nOpening Event\nApril 8\, 2026 (registration required)\n\n\nExhibition Dates\nApril 6 – May 18\, 2026\n\n\nLocation\nCrosby Hall\, 1st Floor\, UB South Campus\, 280 Hayes Rd\, Buffalo\, NY 14214\n\n\nAdmission\nFree and open to the public (no admission fee listed)\n\n\nCurator\nMaia Peck\, Clinical Assistant Professor and Director of Exhibitions\, UB\n\n\nOrganizer\nUB School of Architecture and Planning\n\n\nProgram Locations\nBuffalo\, New York City\, Costa Rica\, Ireland/Scotland\, Italy\, Spain\, Europe\, Japan\n\n\nIreland/Scotland Director\nKenneth Mackay\n\n\n\n\n✦ ArchUp Editorial Insight\n“What We Did Last Summer” is a modest but structurally honest title for an exhibition that does something undervalued in architectural education: it treats the outputs of experiential learning as exhibition-worthy material rather than ephemera. The curatorial decision to show guidebooks\, postcards\, and mappings alongside drawings and digital fabrications acknowledges that different contexts produce different forms of design intelligence. The risk with multi-site exhibitions of this kind is curatorial diffusion\, where the breadth of locations becomes a catalogue rather than an argument. Whether Peck’s curation finds throughlines across the eight program sites or presents them as parallel but unconnected experiences is the question that would determine the exhibition’s intellectual coherence beyond its documentary value. \n\n\nClosing Note\nUB’s summer study programs span three continents and eight locations\, which is a significant institutional commitment to field-based learning. This exhibition is the public face of that commitment\, making visible what is otherwise internal to the school’s pedagogical calendar. Its six-week run at Crosby Hall gives it enough time to be encountered by audiences beyond the opening event\, which is not always the case for student work exhibitions at architecture schools.
URL:https://archup.net/event/what-we-did-last-summer-ub-school-of-architecture-and-planning-summer-study-exhibition-2026/
LOCATION:School of Architecture and Planning\, University at Buffalo\, South Campus Hayes Hall 250 Hayes Road Buffalo\, New York 14214-8030\, New York\, NY\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/03/1768574418948.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260409T080000
DTEND;TZID=UTC:20260928T170000
DTSTAMP:20260503T140829
CREATED:20260421T235332Z
LAST-MODIFIED:20260421T235332Z
UID:10001413-1775721600-1790614800@archup.net
SUMMARY:Cao Fei: Dash
DESCRIPTION:Overview\nFondazione Prada presents “Dash\,” a new multimedia project by Chinese artist Cao Fei\, at its Milan headquarters from April 9 to September 28\, 2026. The exhibition occupies the ground floor and first floor of the Podium\, Fondazione Prada’s central exhibition building designed by OMA. It is produced by Fondazione Prada in close collaboration with the artist and represents the culmination of three years of fieldwork across southern and northwestern China and Southeast Asia. \nThe title refers to the high-frequency sound of a drone in flight: that precise\, autonomous buzz of a machine operating at the edge of human grasp. Cao Fei positions this sound as the sonic signature of a technological moment in which the tools of agriculture\, and by extension of subsistence itself\, are being fundamentally reorganised by automation\, artificial intelligence\, and remote sensing systems. The exhibition is accompanied by an illustrated catalogue published by Fondazione Prada\, with a foreword by Miuccia Prada\, a conversation between Cao Fei and Rem Koolhaas\, a science fiction story by the artist\, and essays by scholars\, curators\, and experts. \nFocus\nDash examines smart agriculture not as a solution to planetary crisis but as a dense field of contradictions\, where automation promises efficiency while quietly rewriting labour\, memory\, and the relationship between humans and land. The exhibition’s conceptual framework is organised around a diagram Cao Fei calls CHT Triad: Cosmos\, Human\, Technics\, which proposes a non-hierarchical relationship in which technology is a co-author of human becoming rather than a tool in human hands. \nThe project builds on Cao Fei’s two-decade inquiry into technological modernity’s effects on Chinese society\, moving from factories and logistics networks (as in “Whose Utopia\,” 2006\, and “Asia One\,” 2018) to agriculture\, the oldest and most foundational form of human relationship with land. The shift is not merely thematic. Smart farming is among the most consequential technological transformations of this century\, affecting food security\, land use\, labour markets\, ecological systems\, and the cultural fabric of rural communities globally\, yet it has been almost entirely absent from contemporary art discourse. \nCao Fei’s central provocation is drawn from an observation at a Chinese super farm in 2023: there were virtually no humans in the fields. In their place were drones\, autonomous vehicles\, and automated irrigation and harvesting systems. That condition\, she notes\, is not a future projection but an already existing present. \nHere\, satellite positioning systems converse with ritual geographies; artificial intelligence and traditional experience train one another; historical images and sensor signals generate visual resonance.\nCao Fei\, Exhibition Statement\, 2026 \nExhibition Structure\nGround Floor: The Agricultural Environment\nThe ground floor constructs a full-scale rural environment inside the Podium. A grain warehouse functions as a cinema screening the eponymous two-channel video “Dash” (47 min.). A temple built from fertilizer sacks houses three-channel video “The Birth\,” which documents the everyday reverence farmers across Southeast Asia extend to their agricultural drones\, offering flowers\, incense\, and ceremonies once reserved for rain deities. A new farmer’s training station and a banana plantation surrounded by solar panels\, smart agricultural machinery\, and autonomous vehicles complete the floor. The installation structures were developed by Small Production; banners and cushions were designed by Xiang Gao. \nThe temple built from industrial waste packaging is the exhibition’s most precise formal decision: sacred and industrial occupy the same physical object. The videos inside show that this is not ironic or critical from a distance but an accurate description of lived agricultural reality in regions where harvests determine survival. \nFirst Floor: Research and Archive\nThe first floor shifts from immersive environment to research archive. Documentary films\, photographs\, propaganda posters from the founding decades of the People’s Republic of China (1949 to 1980s)\, scientific and educational slides from the Reform and Opening-up era (1978 onwards)\, and Chinese folk records titled “Busy Farming” situate Cao Fei’s investigation within a broader historical and ideological context. \n“Land Ceremony\,” which greets visitors on this floor\, makes the continuity between ancient ritual and technological present physical: constructed from local Lombard rice and traditional folk materials decorated with drone components\, it draws directly on the ancient Chinese “rice dragon” ritual. The argument of the floor is that China’s current investment in agricultural technology is not a rupture from its history but a continuation of it. \nKey Works\n\nDash\, 2026Two-channel video\, colour\, sound\, 47 min. Produced by Fondazione Prada.\nThe Birth\, 2026Three-channel looped video with altar\, fertilizer sacks\, and XAG agricultural drone. Temple installation.\nDash-180cVirtual reality work placing the viewer inside the perspective of a discarded drone.\nSouthward Journey\, 2026Single-channel video\, colour\, sound\, 30 min.\nSuper Farms\, 2026Single-channel video documenting fully automated Chinese agricultural operations.\nLand Ceremony\, 2026Installation in Lombard rice and folk materials with drone components. First floor.\n\nCatalogue and Conversations\nThe exhibition catalogue is designed by graphic artist Evi O and published by Fondazione Prada. It includes an introduction by Miuccia Prada; a conversation between Cao Fei and Rem Koolhaas\, whose OMA has developed extensive research on countryside since 2012; a science fiction story by Cao Fei; and essays and interviews with scholars\, curators\, and experts. The Koolhaas conversation is a significant pairing: his countryside research and the broader OMA investigation of rural land transformation provide a direct intellectual counterpart to Cao Fei’s fieldwork methodology. \nAudience\nThe exhibition is open to the general public at Fondazione Prada’s Milan venue. It addresses audiences spanning contemporary art\, architecture\, design research\, technology studies\, and agricultural policy. Its five-month run gives it an extended presence in Milan’s cultural calendar\, overlapping with the city’s major design and architecture events in spring and summer 2026. \nEvent Details\n\n\n\nExhibition Dates\nApril 9 – September 28\, 2026\n\n\nVenue\nFondazione Prada\, Podium (ground and first floors)\, Largo Isarco 2\, Milan 20139\, Italy\n\n\nAdmission / Fees\nStandard Fondazione Prada admission applies — verify current pricing at fondazioneprada.org\n\n\nArtist\nCao Fei (Beijing\, China)\n\n\nRepresented by\nVitamin Creative Space; Sprüth Magers\n\n\nProduced by\nFondazione Prada\n\n\nInstallation Design\nSmall Production\n\n\nCatalogue Design\nEvi O\n\n\nCatalogue Includes\nIntroduction by Miuccia Prada; conversation between Cao Fei and Rem Koolhaas; science fiction story by Cao Fei; critical essays\n\n\nResearch Partner\nXAG (agricultural robotics company\, China)\n\n\n\n\n✦ ArchUp Editorial Insight\nDash is architecturally significant not as an exhibition about architecture but as one that takes the transformation of landscape\, land use\, and the built rural environment as its primary subject. The Podium at Fondazione Prada\, itself an OMA building\, hosts full-scale reproductions of grain warehouses\, temples\, and farming stations\, creating a space where the built environment and its technological reconfiguration are examined from inside. The Rem Koolhaas catalogue conversation is the clearest signal of this framing: his OMA countryside research and Cao Fei’s agricultural fieldwork share a subject and a methodology\, though they arrive from different disciplines. The exhibition’s most honest moment may be the temple built from fertilizer bags\, which refuses the comfortable separation between the sacred and the industrial that most cultural institutions maintain. Smart farming is reshaping land at a global scale; the fact that it has taken this long to enter the exhibition space is itself a form of institutional blindness that Dash implicitly names. \n\n\nClosing Note\nCao Fei has spent three years in fields across China and Southeast Asia to make this exhibition. That investment of time and direct research is visible in the specificity of the work and distinguishes Dash from exhibitions that take technology as a theme without engaging its actual material conditions. Running through September 2026\, it is among the most substantively researched solo presentations of the year in Europe\, and the most direct engagement with agricultural transformation as a subject for contemporary art practice.
URL:https://archup.net/event/dash/
LOCATION:Prada Foundation\, Largo Isarco\, 2 20139 Milan\, Milan\, Milan\, -\, Italy
CATEGORIES:Exhibitions
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ORGANIZER;CN="Fondazione Prada":MAILTO:info@fondazioneprada.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260410T080000
DTEND;TZID=UTC:20260612T170000
DTSTAMP:20260503T140829
CREATED:20260423T173351Z
LAST-MODIFIED:20260423T173411Z
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SUMMARY:Desire to Create: Baťa's Architecture of Belonging 2026
DESCRIPTION:Overview\nDesire to Create: Baťa’s Architecture of Belonging is an exhibition in London at the Czech Centre’s Vitrínka Gallery. It examines the relationship between industrial planning\, housing\, and community design through the legacy of Tomáš Baťa and the East Tilbury settlement in Essex. The event sits within architecture\, urban history\, and design culture. \nFocus\nThe exhibition focuses on how corporate vision can shape the built environment. It studies modernist planning\, worker housing\, civic identity\, and the integration of labour with daily life. It also raises questions about whether employer-led urban models create genuine community or controlled environments. \nArchitecture here is presented not only as buildings\, but as a system of social organisation. \nProgram\nThe program includes a public exhibition with architectural drawings\, historical photographs\, and archival artefacts related to Baťa’s planning model. It traces the translation of business principles into physical space\, from urban planning to domestic life. A related panel discussion titled Designed to Belong expands the debate around modernism\, industry\, and belonging. \nAudience\nThis event is relevant to architects\, urban researchers\, preservation specialists\, students\, and visitors interested in the political role of design and planned communities. \nEvent Details\n\n\n\nDates\n10 April 2026 to 12 June 2026\n\n\nVenue\nVitrínka Gallery\, Czech Centre London\, 30 Kensington Palace Gardens\, London W8 4QY\n\n\nEvent Type\nExhibition\n\n\nAccess\nPublic\n\n\nFees\nFree\n\n\n\n✦ ArchUp Editorial Insight\nThe exhibition is strongest when read as a case study in paternalistic modernism. Baťa’s model linked welfare\, efficiency\, and spatial order\, but such systems often blur the line between community care and behavioural control. For architects\, the project remains relevant because many contemporary masterplans still promise belonging through centrally managed environments. \nClosing Note\nRather than focusing on iconic buildings\, this event positions architecture as an instrument of economic and social planning\, giving it broader relevance than a standard historical exhibition.
URL:https://archup.net/event/desire-to-create-batas-architecture-of-belonging-2026/
LOCATION:Vitrinka Gallery\, Czech Centre\, 30 Kensington Palace Gardens\, London\, London\, -\, United Kingdom
CATEGORIES:Exhibitions
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ORGANIZER;CN="Veronika Blues":MAILTO:info@czechcentre.org.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260410T080000
DTEND;TZID=UTC:20260802T170000
DTSTAMP:20260503T140829
CREATED:20260422T170012Z
LAST-MODIFIED:20260422T170012Z
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SUMMARY:Isamu Noguchi: ‘I am not a designer’
DESCRIPTION:Overview\nThe High Museum of Art in Atlanta presents “Isamu Noguchi: I am not a designer\,” the artist’s first design retrospective in nearly twenty-five years\, running April 10 through August 2\, 2026. Featuring nearly two hundred objects\, many never or rarely exhibited\, the exhibition spans all facets of Noguchi’s creative output across architecture\, industrial design\, ceramics\, furniture\, lighting\, stage sets\, and landscape design. \nThe exhibition is organized by the High Museum of Art and will travel following its Atlanta run to the Peabody Essex Museum in Salem\, Massachusetts (September 19\, 2026 through January 3\, 2027) and the Memorial Art Gallery at the University of Rochester in Rochester\, New York (February 13 through June 6\, 2027). The Atlanta presentation also coincides with the fiftieth anniversary of “Playscapes\,” a bicentennial gift for the city of Atlanta that Noguchi created in 1976\, commissioned by the High in collaboration with the City of Atlanta Parks Department and the only one of Noguchi’s playgrounds built in the United States during his lifetime. \nFocus\nThe exhibition takes its title from Noguchi’s own declaration in 1949 and uses it as a productive paradox: despite his insistence that he was not a designer\, Noguchi spent his career regularly engaging with the space-shaping possibilities of design. The retrospective reframes this tension as evidence of his resistance to disciplinary categorisation rather than contradiction\, presenting him as a multinational\, interdisciplinary artist who moved between sculpture\, architecture\, furniture\, landscape\, and performance design as a single continuous practice. \nThe presentation emphasises works that embrace function\, explicitly positioning functional objects not as secondary to Noguchi’s sculptural practice but as integral to it. His Akari paper lanterns\, his furniture for Herman Miller and Knoll\, his stage sets for Martha Graham\, his unrealised public space proposals\, and his built playgrounds and gardens are treated as equally significant expressions of a unified sensibility that consistently sought to bring sculpture into everyday life and public space. \nAlthough Isamu Noguchi declared in 1949\, “I am not a designer\,” the internationally acclaimed artist regularly engaged with the space-shaping possibilities of design\, imagining and producing work in architecture\, industrial design\, ceramics\, furniture\, lighting\, stage sets\, and landscape design.\nHigh Museum of Art\, Exhibition Description\, 2026 \nExhibition Highlights\n\nPlay Mountain plaster model (1933)Recently rediscovered sculptural model for an unrealised public playground proposal.\nAkari (model 1A)\, ca. 1954Natural mulberry paper with bamboo and metal frame. From the High’s permanent collection.\nSeraphic Dialogue stage set (1955)Large-scale installation recreating Noguchi’s set design for Martha Graham’s choreography.\nTables and stools for Herman Miller and KnollIndustrial design objects produced in collaboration with major American manufacturers.\nHouse model with Kazumi AdachiArchitectural collaboration with Japanese architect Kazumi Adachi.\nPlayscapes play equipmentOne of Noguchi’s innovative playground installations\, coinciding with the 50th anniversary of the Atlanta Playscapes.\nCommissioned filmNew film documenting some of Noguchi’s site-specific plazas and gardens around the world.\nUnrealised project modelsSculptural models for unbuilt proposals\, including recently rediscovered plasters.\n\nPlayscapes at 50\nA significant local context for the Atlanta exhibition is the fiftieth anniversary of Playscapes in Piedmont Park\, which Noguchi created in 1976 as a bicentennial gift to the city of Atlanta. Commissioned by the High in collaboration with the City of Atlanta Parks Department\, it remains the only one of Noguchi’s playgrounds built in the United States during his lifetime\, making it one of the most significant pieces of landscape architecture in the city and a direct local complement to the exhibition’s themes of public space\, play\, and the integration of art into everyday urban life. \nRelated Events\nAn opening weekend party takes place on April 11\, 2026 from 6 to 10pm\, with after-hours access to the exhibition and a VIP YP member lounge. “Illuminating Noguchi @ the High” on April 23\, 2026 (6 to 9pm) is an evening event centred on Noguchi’s Akari paper lanterns\, expanding their spirit from the museum into the city. A member exhibition tour takes place May 21\, 2026 from 2 to 3pm. \nAudience\nThe exhibition is open to the general public at the High Museum of Art. Its combination of sculpture\, furniture\, stage design\, playground equipment\, and architectural models makes it relevant to audiences spanning fine art\, design history\, architecture\, urban landscape\, and material culture. The nearly two hundred objects and the inclusion of large-scale installations\, a commissioned film\, and interactive elements signal a presentation designed for extended engagement rather than a rapid survey. \nEvent Details\n\n\n\nDates (Atlanta)\nApril 10 – August 2\, 2026\n\n\nVenue\nHigh Museum of Art\, 1280 Peachtree St NE\, Atlanta\, GA 30309\n\n\nHours\nVerify current hours at high.org\n\n\nAdmission / Fees\nTimed tickets required — purchase via high.org. High members free. General admission applies.\n\n\nObjects\nNearly 200\, many never or rarely exhibited\n\n\nOrganized by\nHigh Museum of Art\, Atlanta\n\n\nTour Venues\nPeabody Essex Museum\, Salem MA (Sep 19\, 2026 – Jan 3\, 2027); Memorial Art Gallery\, University of Rochester\, NY (Feb 13 – Jun 6\, 2027)\n\n\nPresenting Sponsor\nBank of America\n\n\nMajor Funders\nTerra Foundation for American Art; Henry Luce Foundation; Forward Arts Foundation; Graham Foundation for Advanced Studies in the Fine Arts\n\n\nPublication Support\nWyeth Foundation for American Art\n\n\nContact\n+1 404-733-4400\n\n\n\n\n✦ ArchUp Editorial Insight\nNoguchi’s declaration “I am not a designer” is one of the more productively unstable statements in twentieth-century art history\, and the High’s decision to use it as the exhibition title rather than resolve it is the right curatorial call. What the retrospective implicitly argues is that the distinction between art and design\, between sculpture and furniture\, between monument and playground\, was not a hierarchy Noguchi accepted. His Akari lamps are sculptures that light rooms; his stage sets for Martha Graham are spatial compositions that happen to serve choreography; his playgrounds are public sculptures that accept use as a condition rather than a compromise. The fifty-year anniversary of Playscapes in Atlanta makes this the most site-appropriate version of the exhibition it could receive: visitors can see the unrealised plaster for Play Mountain in the gallery\, then walk to Piedmont Park and stand in one of the few places where Noguchi’s vision of democratic public space was actually built. That pairing is more instructive than any interpretive text. \n\n\nClosing Note\nNearly two hundred objects across architecture\, furniture\, ceramics\, stage design\, lighting\, and landscape make this the most comprehensive examination of Noguchi’s cross-disciplinary practice since the 1990s. Its touring itinerary\, across Atlanta\, Salem\, and Rochester\, will give it reach beyond the major coastal museum circuit and place it in front of audiences with specific interests in American art\, design history\, and the regional landscape of public works that Noguchi’s practice helped shape.
URL:https://archup.net/event/isamu-noguchi-i-am-not-a-designer/
LOCATION:High Museum of Art\, High Museum of Art 1280 Peachtree St NE Atlanta\, GA 30309\, Atlanta\, Atlanta\, -\, Georgia
CATEGORIES:Exhibitions
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ORGANIZER;CN="High Museum of Art":MAILTO:access@high.org
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260415T080000
DTEND;TZID=UTC:20260816T170000
DTSTAMP:20260503T140829
CREATED:20260423T184235Z
LAST-MODIFIED:20260423T184235Z
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SUMMARY:Calder. Rêver en équilibre 2026
DESCRIPTION:Overview\nCalder. Rêver en équilibre is an exhibition held at the Fondation Louis Vuitton in Paris. It is dedicated to the work of Alexander Calder and explores his practice across sculpture\, movement\, and spatial composition. The exhibition is staged within the architectural framework of the museum\, making the building itself part of the curatorial experience. \nThe show situates Calder within broader discussions of architecture and spatial perception\, where exhibition design becomes an extension of built form rather than a neutral container. \nFocus\nThe exhibition focuses on Calder’s exploration of movement\, balance\, and abstraction. It highlights his mobiles and stabiles as systems that respond to gravity\, air\, and spatial tension. Rather than treating sculpture as static object\, the display emphasizes continuous motion and instability as core design principles. \nIt also positions his work within modern artistic networks\, connecting sculpture to painting\, drawing\, and performance-based approaches to space. \nCalder’s work reframes sculpture as an active spatial condition rather than a fixed object in space. \nProgram\nThe program presents a chronological selection of Calder’s works\, including early wire sculptures\, mobiles\, large-scale installations\, and drawings. The exhibition also integrates archival material and works from contemporaries\, creating a broader contextual reading of modernism. \nThe spatial layout interacts directly with the museum architecture\, turning circulation paths into part of the exhibition experience. This relationship extends the discussion into broader ideas of design as an environmental system rather than isolated objects. \nAudience\nThe exhibition is aimed at the general public\, researchers\, designers\, and architects interested in modern sculpture\, kinetic systems\, and spatial experimentation. \nEvent Details\n\n\n\nDates\n15 April 2026 – 16 August 2026\n\n\nVenue\nFondation Louis Vuitton\, Paris\n\n\nEvent Type\nArt and design exhibition\n\n\nAccess\nPublic\n\n\nFees\n€0 – €32 depending on ticket type\n\n\n\n✦ ArchUp Editorial Insight\nThe exhibition positions Calder’s work within a controlled institutional environment where spatial choreography becomes as important as the artworks themselves. While the presentation emphasizes movement and openness\, the museum framework still defines strict circulation and viewing hierarchies. This creates a tension between the fluidity of Calder’s kinetic objects and the fixed architectural system that contains them. From an architectural perspective\, the exhibition highlights how contemporary cultural institutions increasingly rely on immersive spatial design to construct meaning\, rather than allowing artworks to exist independently of their environment. The result is a curated experience where architecture and exhibition design merge into a single interpretive system\, raising questions about authorship and spatial control. \nClosing Note\nThe exhibition reinforces Calder’s relevance to spatial thinking today\, particularly in how movement\, balance\, and instability can be understood as architectural conditions rather than purely sculptural concerns.
URL:https://archup.net/event/calder-rever-en-equilibre-2026/
LOCATION:8 Mahatma Gandhi Avenue\, Bois de Boulogne\, 75116 Paris\, Paris\, Paris\, -\, France
CATEGORIES:Exhibitions
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ORGANIZER;CN="Fondation Louis Vuitton":MAILTO:contact@fondationlouisvuitton.fr
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260416T110000
DTEND;TZID=UTC:20260907T190000
DTSTAMP:20260503T140829
CREATED:20260425T215354Z
LAST-MODIFIED:20260425T215354Z
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SUMMARY:William Kentridge: The Battle Between YES and NO 2026
DESCRIPTION:Overview\nWilliam Kentridge: The Battle Between YES and NO is a major exhibition at Kunsthalle Praha in Prague. It is the first large-scale presentation of the artist in the Czech Republic. The exhibition brings together drawing\, animation\, film\, sculpture\, and installation within a single spatial narrative that reflects his multidisciplinary approach. \nThe project is positioned within broader discussions of architecture as it transforms the gallery into a structured environment where movement and perception become part of the exhibition itself. \nFocus\nThe exhibition focuses on William Kentridge’s long-term exploration of political history\, memory\, and contradiction. His work often combines fragmented narratives and shifting meanings\, especially through animated drawing and erased image sequences. \nRather than presenting fixed interpretations\, the exhibition highlights uncertainty and ambiguity as central visual strategies\, linking it conceptually to experimental approaches in design. \nThe exhibition treats contradiction not as conflict to be resolved\, but as a structural condition of perception. \nProgram\nThe program includes early animated works from the Drawings for Projection series\, large installations\, kinetic models\, and recent video works. It also introduces site-specific material created for Prague. \nThe exhibition layout functions as a spatial sequence where movement becomes part of interpretation\, a condition often discussed in urban planning when temporary cultural systems reshape spatial experience. \nAudience\nThe exhibition is aimed at the general public\, researchers\, and professionals in art\, architecture\, and visual culture. \nEvent Details\n\n\n\nDates\n16 April 2026 – 7 September 2026\n\n\nVenue\nKunsthalle Praha\, Prague\n\n\nEvent Type\nContemporary art exhibition\n\n\nAccess\nPublic\n\n\nFees\nFrom approx. 160 CZK – 320 CZK\n\n\n\n✦ ArchUp Editorial Insight\nThe exhibition constructs a controlled narrative space where Kentridge’s fragmented visual language is translated into a curated architectural environment. While the works emphasize instability\, memory\, and contradiction\, the exhibition design imposes a linear spatial sequence that guides interpretation. This creates a tension between the openness of the artistic process and the fixed logic of institutional display. From an architectural perspective\, the project demonstrates how contemporary exhibitions increasingly operate as spatial systems that mediate perception rather than simply presenting objects. The gallery becomes an active framework that organizes meaning through movement\, framing\, and controlled visibility. \nClosing Note\nThe exhibition reinforces Kentridge’s position as an artist whose work directly engages with spatial thinking\, where narrative\, movement\, and structure intersect within the exhibition environment.
URL:https://archup.net/event/william-kentridge-the-battle-between-yes-and-no-2026/
LOCATION:Kunsthalle Praha\, Klárov 5 118 00\, Prague 1\, Prague\, Prague\, -\, Czech Republic
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/04/William-Kentridge.jpg
ORGANIZER;CN="Kunsthalle Praha":MAILTO:info@kunsthallepraha.org
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260420T080000
DTEND;TZID=UTC:20260726T170000
DTSTAMP:20260503T140829
CREATED:20260228T221643Z
LAST-MODIFIED:20260228T221643Z
UID:10001233-1776672000-1785085200@archup.net
SUMMARY:OBJECTILE ADVENTURES: THE FLOOR – Banham Fellow Exhibition 2026
DESCRIPTION:Overview\nThe UB School of Architecture and Planning presents “OBJECTILE ADVENTURES: THE FLOOR” as part of its Spring 2026 Public Programs. The exhibition opening will take place on Monday\, April 20\, 2026\, at 5:00 PM in the Hayes Hall Atrium\, UB South Campus. \nThe installation forms part of a public program series which presents scholarly research and architectural work through live presentations and exhibitions to explore current developments in architectural design and material science. \nConcept\nThe installation introduces “Objectiles” — object-projectiles — discarded building materials that travel across time and space collecting new uses. Objectiles maintain their original function through physical changes which display all the different things they have experienced and tested. \nThe current version of Objectiles demonstrates their ability to act as “floor” while they stop moving. Traditional construction systems use mass production methods to create floors which builders want to be unnoticeable through their flat and neutral appearance. However\, Objectiles refuse to maintain a position of neutrality. The floor design which assumes a flat surface will create another way for people to interact with the space through its slopes and hinges and ridges and points where it lifts or supports weight. \nInstallation Experience\nThe Objectiled floor requires users to combine their negotiation abilities with their imaginative skills to traverse its surface. The installation shows visitors its irregular surface which consists of different materials and invites them to think about how materials undergo transformation and reuse throughout time. Users create new traces which become part of the Objectiles ongoing story that will continue to exist in upcoming times. \nThe project tests a design method centered on reused building materials and storytelling\, exploring how narratives and aesthetic sensibilities can shift us away from a linear material economy toward more circular practices within design and construction culture. \nResearch Background\nThe installation developed by 2025–26 Banham Fellow Celia Chaussabel represents an ongoing research project which began in 2021. Previous explorations included graphic novels\, animations\, and video games tracing the trajectories of materials and the people and sites entangled in their movement. \nThe research extends to architectural installation research through its investigation of how reused materials create different storytelling methods which transform architectural spaces through their design. \nExhibition Details\n\n\n\nOpening Reception\nApril 20\, 2026 – 5:00 PM\n\n\nExhibition Dates\nApril 20 – July 26\, 2026\n\n\nGallery Hours\n9:00 AM – 4:30 PM\n\n\nLocation\nHayes Hall\, 1st Floor\, UB South Campus\, 250 Hayes Rd\, Buffalo\, NY 14214\, USA\n\n\nFormat\nIn-person and remote access via Zoom\n\n\nCurator\nCelia Chaussabel\, 2025–26 Banham Fellow\n\n\nEntry Fees\nFree\n\n\nOrganizer\nUB School of Architecture and Planning\n\n\n\n✦ ArchUp Editorial Insight\nThe documentary “OBJECTILE ADVENTURES: THE FLOOR” defines reuse through its application as a spatial design element and a method of storytelling. The installation challenges standard construction practices by its implementation of nontraditional flooring systems which disrupt the expected architectural design elements. The research demonstrates its value through its ability to create a complete functional space which people can use. The project design focuses on storytelling while it limits both environmental assessment methods and architectural development of new structural designs. The project presents itself as a design experiment that critiques traditional material usage through architectural design because it reuses materials in a way that connects to cultural traditions instead of standard construction methods. \nFinal Statement\nThe installation of “OBJECTILE ADVENTURES: THE FLOOR” uses abandoned materials to create areas that communicate stories through their design which reflects memory and material history and the ongoing transformation of materials. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/objectile-adventures-the-floor-banham-fellow-exhibition-2026/
LOCATION:Hayes Hall\, 1st Floor UB South Campus 250 Hayes Rd Buffalo\, NY 14214\, New York\, NY\, -\, United States
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260422T080000
DTEND;TZID=UTC:20261018T170000
DTSTAMP:20260503T140829
CREATED:20260326T203127Z
LAST-MODIFIED:20260326T203127Z
UID:10001333-1776844800-1792342800@archup.net
SUMMARY:CONVIVIUM: Food Systems at the Limit 2026
DESCRIPTION:Overview\nThe Architekturmuseum der TUM (Architecture Museum of the Technical University of Munich) is presenting CONVIVIUM: Food Systems at the Limit\, a major exhibition exploring the spatial\, architectural\, and territorial dimensions of global food production. The exhibition opens on April 23\, 2026\, and runs through October 18\, 2026\, at the Pinakothek der Moderne in Munich\, Germany. It belongs to the fields of architecture\, landscape\, urban design\, and environmental research. \nFocus\nThe exhibition examines how the global food system operates as a spatial and infrastructural network\, and how it is approaching multiple simultaneous limits: ecological\, climatic\, political\, and economic. It investigates the built environments of food production\, from high-tech Dutch greenhouses and industrial dairy farms to aquaculture facilities\, grain silos\, and the contested territorial landscapes of soy production and deforestation. \nFor those tracking how architecture engages with agriculture and urban food systems\, ArchUp’s coverage of agritecture and the integration of food production into urban environments provides a useful frame for understanding the spatial stakes of what CONVIVIUM puts on display. \nProgram\nThe exhibition is structured across twelve thematic chapters\, each addressing a distinct aspect of contemporary food production. Topics include climate-controlled greenhouse technology in the Netherlands\, the global salmon and tomato industry\, industrial dairy farming\, Bavarian carp aquaculture\, the territorial footprint of animal feed production\, the destruction of Ukrainian grain infrastructure by war\, and the degradation of agricultural soils. \nAlongside the main exhibition\, the programme includes a two-day international symposium at the Vorhoelzer Forum at TUM on April 23 and 24\, 2026\, curator-led tours\, and a public kitchen installation called Sommerküche CONVIVIUM in the outdoor area of the Pinakothek der Moderne. The exhibition also features a multimedia installation by Hungarian artist Daniel Szalai examining the role of breeding bulls as carriers of genetic information\, and a graphic essay tracing the opaque supply chains of soy production to Europe. \nThe exhibition is accompanied by a comprehensive publication and was developed in conjunction with a series of master projects and seminars at TUM’s Chair of History of Architecture and Curatorial Practice. Those interested in how agricultural waste intersects with building materials and spatial design will find a relevant counterpoint in ArchUp’s analysis of recycling agricultural waste into building materials\, which maps the boundary between food systems and construction practice. \n“Hardly any country on earth can feed its population entirely from its own resources anymore.” \nThe curators are Andjelka Badnjar and Andres Lepik\, with cocurators Victor Muñoz Sanz and Sofia Nannini contributing to the segment on animal production. For context on how architecture and agriculture converge at the urban scale\, ArchUp’s documentation of Stefano Boeri Architetti’s vertical farm project at Bright Food in Shanghai offers a built example of the spatial and ecological tensions the exhibition addresses. \nAudience\nThe exhibition is open to the general public. It is relevant to architects\, landscape architects\, urban designers\, environmental researchers\, students\, and anyone engaged with the relationship between spatial design and food systems. \nEvent Details\n\n\n\nOpening\nApril 22\, 2026\, 7:00 PM\n\n\nExhibition Dates\nApril 23 – October 18\, 2026\n\n\nSymposium Dates\nApril 23 – 24\, 2026\n\n\nVenue\nPinakothek der Moderne\, Barer Strasse 40\, Munich\, Germany\n\n\nEvent Type\nExhibition\, Symposium\, Public Programme\n\n\nAccess\nOpen to the public\n\n\nFees\nStandard museum admission applies\n\n\n\n✦ ArchUp Editorial Insight\nCONVIVIUM is a rare example of an architecture museum exhibition that takes on a subject most design institutions treat as peripheral: the spatial infrastructure of food. By mapping dairy farms\, greenhouse complexes\, slaughterhouses\, grain corridors\, and soy territories as architectural and territorial objects\, the exhibition makes a case that the built environment of food production is both one of the largest spatial systems on earth and one of the least examined by the architecture profession. The twelve-chapter structure is ambitious and risks becoming encyclopedic rather than analytical\, but the thematic range is necessary given how interconnected the failures of the food system are. What is most significant here is the curatorial framing: food infrastructure is not presented as a separate domain from architecture but as a direct extension of it\, subject to the same questions of spatial justice\, ecological consequence\, and design responsibility. Whether the profession will absorb that argument beyond the exhibition walls is a different question entirely. \nClosing Note\nThe exhibition runs for six months and is supported by an extensive network of academic institutions and research partners. Its duration and depth position it as a significant contribution to current debates about architecture’s relationship to ecological systems and resource territories.
URL:https://archup.net/event/convivium-food-systems-at-the-limit-2026/
LOCATION:Architekturmuseum der TUM\, Pinakothek der Moderne\, Arcisstraße 21\, Munich\, Munich\, -\, Germany
CATEGORIES:Exhibitions
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ORGANIZER;CN="Architekturmuseum der TUM":MAILTO:am@architekturmuseum.de
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DTSTART;TZID=UTC:20260428T080000
DTEND;TZID=UTC:20260503T170000
DTSTAMP:20260503T140829
CREATED:20251230T004140Z
LAST-MODIFIED:20251230T004140Z
UID:10001014-1777363200-1777827600@archup.net
SUMMARY:ArchitectExpo 2026
DESCRIPTION:Event Brief\nArchitectExpo 2026 is the main trade show for the building sector offering a broad spectrum of products and technologies for the future of construction\, and so it provides a display area for the industry to not only present but also show off and promote their the latest innovations.\nIntent\nThe exhibition aims at being the main meeting point of the construction industry where architects builders designers suppliers and visitors will get the chance to meet and discover new construction products technologies and materials in a pleasant and easy way.\nPurpose\nArchitectExpo wants to keep on being the place where the latest and most innovative materials and systems are displayed. The program usually consists of several events including thematic pavilions\, seminars\, demonstrations\, and net working.\nRequirements\nThe presence of people depends on two things: visitor registration or exhibitor space booking. Companies that take part in the exhibition get their booth space for the purpose of showcasing what they have to offer in terms of products and services. The event does not have any specific scheme for showcasing design work or submission of formal project proposals.\nJury\nThe exhibition itself does not have any jury. The event has no formal process of selecting and awarding design projects\, therefore\, it cannot be said that there would be a jury for the core exhibition itself.\nFees\n\n\n\n\n\nCategory\nDetails\n\n\n\n\nAdmission\nFree admission for visitors\n\n\n\n\n\nRewards\n\n\n\n\n\nReward type\nDetails\n\n\n\n\nProfessional outcome\nExposure to building products technologies\, demonstrations and industry networking\n\n\n\n\n\nDates\n\n\n\n\n\nDetail\nInformation\n\n\n\n\nEvent period\nApril 28 to May 3 2026\n\n\nDaily hours\n10 AM to 8 PM\n\n\nVenue\nChallenger Hall\, IMPACT Bangkok\, Thailand\n\n\n\n\n\n✦ ArchUp Editorial Insight\nArchitectExpo 2026 is a regional trade exhibition that showcases building technologies\, construction materials\, and architectural materials. The event is mainly organized as a commercial platform\, and architects\, builders\, designers\, and suppliers are allowed to explore new products\, attend thematically organized pavilions\, and interact with one another through networking without the need for submitting and evaluating design projects formally. There is no jury and no awards or adjudication processes associated with the event. From an architectural point of view\, the benefit is getting exposure to new technologies\, practical demonstrations\, and professional connections rather than receiving critical reviews or project recognition. The arrangement encourages industry participation but only provides limited opportunities for creating a design portfolio or experimenting with ideas.\nConclusion and Final Thoughts\nArchitectExpo 2026 is the Southeast Asian region’s Leading Exhibition of building products and construction technologies. Its format prioritizes product showcases\, networking\, and professional visibility within the industry. The available information throws light on free visitor access and the participation of a large number of exhibitors\, but there is no framework for project presentations based on evaluation. The event is focusing on market engagement and industry exchange rather than design evaluation through adjudication.\nExplore the Latest Architecture Exhibitions & Conferences \n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/architectexpo-2026/
LOCATION:Challenger Hall\, IMPACT Bangkok\, Thailand
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/webp:https://archup.net/wp-content/uploads/2025/12/ARC26_SpaceReservation_20250516.webp
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DTSTART;TZID=UTC:20260429T080000
DTEND;TZID=UTC:20260630T170000
DTSTAMP:20260503T140829
CREATED:20260426T220508Z
LAST-MODIFIED:20260426T220508Z
UID:10001425-1777449600-1782838800@archup.net
SUMMARY:Liminal Field FFM: Spain's Pavilion for World Design Capital Frankfurt 2026
DESCRIPTION:Overview\nAs part of World Design Capital Frankfurt RheinMain 2026\, Spain presents “Liminal Field FFM\,” a temporary architectural pavilion installed in the garden of the Instituto Cervantes in Frankfurt. Promoted by ICEX (Spain’s Trade and Investment Agency)\, designed by José Ramón Tramoyeres and Javier Cortina of ggstudio\, and built by Volúmenes y Vareta (Manolo García)\, the pavilion is Spain’s contribution to the 2026 World Design Capital programme\, which runs throughout the year across Frankfurt and the Rhine-Main region under the theme “Design for Democracy: Atmospheres for a Better Life.” \nFrankfurt RheinMain is the first German city region to receive the World Design Capital designation\, awarded by the World Design Organization (WDO) in recognition of its commitment to design for social cohesion\, urban transformation\, and democratic futures. The WDC 2026 programme encompasses over 450 participatory projects and 2\,000 events\, with its central hub at the Museum Angewandte Kunst. \nDesign Concept\nThe pavilion takes its design cue from the constructive methodology of Antoni Gaudí\, not as a historical reproduction but as a structural and geometric principle. Gaudí’s approach\, rooted in natural forms\, geometry\, and the balance between simplicity and complexity\, is translated here into a contemporary lightweight system that is modular\, demountable\, and reusable. ggstudio frames this as an operational rather than nostalgic engagement with Gaudí’s legacy: geometry and material efficiency over formal imitation. \nThe structure combines a timber framework with a hybrid envelope of ceramic elements and textile components. The ceramics provide texture\, durability\, and depth; the textiles modulate light\, ventilation\, and interaction with the surrounding environment. Integrated low-energy lighting activates the installation at night. The pavilion’s organic\, continuous geometry creates a permeable space that engages the park setting and encourages free movement rather than directing it. \nThe project is explicitly aligned with the principles of the New European Bauhaus\, integrating sustainability\, construction precision\, and a social dimension. Its circular and reversible infrastructure model is the conceptual core: the pavilion is designed to leave no permanent physical imprint\, then travel to its next destination. Milan is named as the planned next stop. \nA dismantlable\, reusable\, and itinerant proposal\, the structure features an organic and continuous geometric design that integrates Mediterranean material culture with technical innovation.\nggstudio / ICEX\, Project Description\, 2026 \nTechnical Specifications\n\nProject NameLiminal Field FFM\nFootprintApproximately 150 square metres\nPrimary StructureTimber framework\, modular and demountable\nEnvelopeHybrid ceramic panels and textile components\nLightingIntegrated low-energy systems for night activation\nCircularityFully dismantlable\, reusable\, and designed for international mobility\nNext DestinationMilan (planned)\nDesign ReferenceConstructive principles of Antoni Gaudí\n\nWorld Design Capital 2026 Context\nWDC Frankfurt RheinMain 2026 is structured around a year-long programme that includes the WDC Hub at Museum Angewandte Kunst\, a mobile WDC Pavilion travelling through the region\, Open Design Week in June 2026 (a ten-day festival of installations\, workshops\, and talks)\, and the WDC Campus for emerging designers. The designation reflects the region’s long-standing participatory design practice and cross-sector collaboration\, with city-level design positioned as a driver for democratic participation. The Spanish pavilion sits within this framework as an international contribution that brings a specific cultural and material tradition into conversation with the host region’s design agenda. \nArchitects and Builder\nggstudio is a Valencia-based architectural practice founded by José Ramón Tramoyeres and Javier Cortina. The studio operates across scales and typologies\, with a sustained interest in the relationship between material intelligence\, structural logic\, and cultural context. Their practice engages with the legacy of Mediterranean construction traditions as a living\, evolving resource rather than a historical archive. Volúmenes y Vareta\, led by Manolo García\, is responsible for fabrication and construction\, bringing precision craft to the assembly of the pavilion’s modular timber and ceramic system. The project is promoted and funded by ICEX\, which operates the Interiors from Spain programme as part of its broader mandate to promote Spanish design and architecture internationally. \nAudience\nThe pavilion is publicly accessible in the garden of the Instituto Cervantes in Frankfurt throughout its installation period in 2026. As a free public space\, it addresses a general urban audience alongside professionals\, students\, and cultural visitors engaged with the World Design Capital programme. Those tracking developments in temporary architectural structures\, circular construction systems\, and the international circulation of Spanish design practice will find the project a direct and built case study. \nEvent Details\n\n\n\nInstallation Period\n2026 (exact dates not published — aligned with WDC Frankfurt RheinMain 2026 programme year)\n\n\nLocation\nGarden of Instituto Cervantes\, Frankfurt\, Germany\n\n\nAdmission / Fees\nFree public access\n\n\nProject Name\nLiminal Field FFM\n\n\nArchitects\nJosé Ramón Tramoyeres and Javier Cortina\, ggstudio (Valencia\, Spain)\n\n\nBuilder\nVolúmenes y Vareta / Manolo García\n\n\nPromoter\nICEX Spain Trade and Investment\n\n\nWDC Programme\nWorld Design Capital Frankfurt RheinMain 2026 — wdc2026.org\n\n\nNext Destination\nMilan (planned)\n\n\n\n\n✦ ArchUp Editorial Insight\nLiminal Field FFM is structurally coherent as a design proposition: the alignment between its stated references (Gaudí’s constructive logic)\, its material choices (timber\, ceramics\, textile)\, and its circularity ambition (demountable\, mobile\, leaving no trace) is genuine rather than rhetorical. The decision to frame the Gaudí reference operationally\, as a structural and geometric inheritance rather than a visual or formal one\, is the most disciplined aspect of the project and the one that distinguishes it from pavilions that invoke historical precedents decoratively. The New European Bauhaus alignment is less specific: it names a policy framework more than a design position. What will determine the pavilion’s real contribution is less its Frankfurt presence and more whether its itinerant model\, designed for international mobility with Milan as the next destination\, actually delivers on the promise of genuinely reusable architectural infrastructure rather than a temporary structure that happens to be dismantlable. \n\n\nClosing Note\nSpain’s contribution to World Design Capital Frankfurt 2026 positions contemporary Spanish architectural practice within a European design discourse shaped by circularity\, democratic public space\, and cultural exchange. As a physical object\, Liminal Field FFM is a 150-square-metre timber and ceramic structure in a Frankfurt garden. As a proposition\, it argues that temporary cultural infrastructure can be light\, precise\, reusable\, and rooted in a specific material and constructive tradition without being either nostalgic or disposable.
URL:https://archup.net/event/liminal-field-ffm-spains-pavilion-for-world-design-capital-frankfurt-2026/
LOCATION:Instituto Cervantes Frankfurt\, Staufenstraße 1\, 60323 Frankfurt am Main\, Frankfurt\, Frankfurt\, -\, Germany
CATEGORIES:Exhibitions
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DTSTART;TZID=UTC:20260501T080000
DTEND;TZID=UTC:20260504T170000
DTSTAMP:20260503T140829
CREATED:20260328T035047Z
LAST-MODIFIED:20260328T035047Z
UID:10001347-1777622400-1777914000@archup.net
SUMMARY:Grand Designs Live 2026
DESCRIPTION:Overview\nGrand Designs Live is a consumer home and garden event. The 2026 London edition runs at ExCeL London from 1 to 4 May. It sits within the broader field of self-build\, renovation\, and practical home design. \nFocus\nThe event centres on everyday solutions for improving living spaces. It covers self-build processes\, renovation methods\, kitchen and bedroom layouts\, glazing options\, heating systems\, furniture choices\, and outdoor extensions. The emphasis stays on accessible\, real-world ideas for homeowners rather than abstract architectural concepts. \nProgram\nVisitors move through large exhibition areas filled with product stands and innovations. The schedule includes live talks\, one-to-one expert consultations\, and themed theatres such as the Kitchen and Bedroom Theatre. A key feature is The Grand House\, a life-size installation that displays products in realistic room settings\, allowing some direct purchases on site. \nIn many renovation-focused events\, questions of how to work with existing buildings come up frequently. Our earlier look at adaptive reuse touches on related approaches. \nAudience\nThis show mainly targets homeowners\, self-builders\, renovators\, and anyone planning improvements to their property. It also attracts individuals seeking direct advice from specialists in the home design sector. \nMaterial decisions often shape these home projects in quiet but important ways. For more on that angle\, see our article on sustainable building materials. \nEvent Details\n\n\n\n\n\n\nItem\nDetails\n\n\n\n\nDates\n1–4 May 2026\n\n\nVenue\nExCeL London\n\n\nEvent Type\nConsumer home and design exhibition\n\n\nAccess\nOpen to the public\n\n\nFees\n£8 (Early Bird) to £16 (Final Release); children 15 and under free\n\n\n\n\n\n\n\n\n\n✦ ArchUp Editorial Insight\nFrom an architecture perspective\, Grand Designs Live functions largely as a commercial platform. Its heavy focus on sponsor-led product displays and immediate sales leaves little space for deeper discussion of spatial quality\, building performance\, or wider sustainability issues. The format delivers practical tips for homeowners\, yet offers restricted value for professionals looking for critical analysis of contemporary design challenges. \nWhen public events present design ideas\, the way audiences engage with the built environment often reveals broader patterns. Our coverage of architecture exhibitions explores different ways this interaction takes shape. \nClosing Note\nThe event keeps a stable role as a large consumer show. Its scale brings wide exposure to common design solutions\, though its commercial character sets it apart from venues that push forward critical architectural conversation.
URL:https://archup.net/event/grand-designs-live-2026/
LOCATION:ExCel London\, Royal Victoria Dock\, 1 Western Gateway\, E16 1XL\, London\, United Kingdom
CATEGORIES:Exhibitions
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ORGANIZER;CN="Media 10 Ltd.":MAILTO:richard@media-ten.com
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DTSTART;TZID=UTC:20260505T080000
DTEND;TZID=UTC:20260507T170000
DTSTAMP:20260503T140829
CREATED:20260328T060847Z
LAST-MODIFIED:20260328T060847Z
UID:10001349-1777968000-1778173200@archup.net
SUMMARY:HD Expo + Conference 2026
DESCRIPTION:Overview\nHD Expo + Conference is a leading hospitality trade show and conference. The 2026 edition takes place at Mandalay Bay in Las Vegas from 5 to 7 May. It belongs to the field of hospitality design\, product discovery\, and commercial interior solutions. \nFocus\nThe event centres on connecting hospitality designers and architects with manufacturers and suppliers. Themes cover innovative products and materials for hotels\, restaurants\, resorts\, and lifestyle commercial spaces\, with a strong emphasis on practical specification\, new developments\, and real project needs. \nProgram\nAttendees explore large exhibition floors with product displays from hundreds of manufacturers. The program includes a full conference with accredited sessions on the HD Mainstage\, HD University educational tracks\, networking events\, and immersive installations such as The Social Hub and DesignWell Pavilion. Additional activities feature talks\, panel discussions\, and dedicated areas for interaction. \nIn many hospitality projects\, designers face the challenge of working with existing buildings. Our earlier analysis of adaptive reuse explores related strategies in commercial interiors. \nAudience\nThis event mainly serves hospitality designers\, architects\, interior design professionals\, manufacturers\, suppliers\, and qualified buyers. It also welcomes new design talent and students through special registration options. \nMaterial choices significantly influence durability and atmosphere in hospitality environments. For further reading on this aspect\, see our article on sustainable building materials. \nEvent Details\n\n\n\n\n\n\nItem\nDetails\n\n\n\n\nDates\n5–7 May 2026\n\n\nVenue\nMandalay Bay\, Las Vegas\n\n\nEvent Type\nHospitality design trade show and conference\n\n\nAccess\nOpen to qualified professionals and buyers\n\n\nFees\nExpo Only: $169 (Advanced rate); Full Conference: $379; Full Conference Group (5+): $209 per pass; Student: $59; Educator: $199\n\n\n\n\n\n\n✦ ArchUp Editorial Insight\nFrom an architecture perspective\, HD Expo + Conference functions primarily as a commercial trade platform for product sourcing and industry networking. While it offers direct access to new materials and solutions for hospitality projects\, the heavy sponsor influence and transactional focus limit opportunities for critical examination of spatial experience\, long-term building performance\, or broader design theory. The format supports practical specification needs but provides a narrower value for professionals seeking in-depth architectural discourse. \nWhen such events present design ideas to the industry\, they often reflect how professionals engage with built environments. Our coverage of architecture exhibitions looks at different forms of this engagement. \nClosing Note\nThe event maintains its position as the largest dedicated hospitality design platform in the US. Its scale facilitates practical industry exchange\, though its commercial nature distinguishes it from venues that prioritise critical advancement within the wider architecture field.
URL:https://archup.net/event/hd-expo-conference-2026/
LOCATION:Mandalay Bay Convention Center\, 3950 S Las Vegas Blvd\, Las Vegas\, NV 89119\, Las Vegas\, United States
CATEGORIES:Conferences,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/03/maxresdefault.jpg
ORGANIZER;CN="Emerald Expositions":MAILTO:info@emeraldexpo.com
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DTSTART;TZID=UTC:20260506T080000
DTEND;TZID=UTC:20260506T170000
DTSTAMP:20260503T140829
CREATED:20260429T232025Z
LAST-MODIFIED:20260429T232025Z
UID:10001442-1778054400-1778086800@archup.net
SUMMARY:Neil Denari Lecture 2026
DESCRIPTION:Overview\nThe Neil Denari Lecture 2026 features architect Neil M. Denari delivering a talk on May 6\, 2026\, at the Center for Media and Design in Santa Monica\, California. The event forms part of the SMC NOMAS Spring Lecture series in the field of contemporary architecture. \nFocus\nThe lecture centers on key themes in Denari’s work including geometry\, surface\, representation\, and the relationship between architecture and media. It also touches on the growing role of AI tools in contemporary design processes. \nProgram\nThe program includes a formal lecture by Neil Denari\, FAIA\, followed by a Q&A session. The event runs from 6:15 PM to 7:30 PM in the main auditorium. \nAudience\nThis lecture mainly targets architecture students\, faculty members\, and professionals interested in current design research and practice. \nEvent Details\n\n\n\nDates\nMay 6\, 2026 (6:15 PM – 7:30 PM)\n\n\nVenue\nCenter for Media and Design\, 1660 Stewart St.\, Santa Monica\, CA 90404\, USA\n\n\nEvent Type\nLecture\n\n\nAccess\nOpen to the public\n\n\nFees\nFree admission\n\n\n\n✦ ArchUp Editorial Insight\nFrom an architecture perspective\, single-speaker lectures like this often prioritize individual formal explorations over broader critical examination of the systems that shape architectural production. While such events provide visibility for established voices\, they rarely challenge the dominant models of practice in any significant way. \nClosing Note\nThe lecture occupies a modest position within the busy Los Angeles architecture calendar.
URL:https://archup.net/event/neil-denari-lecture-2026/
LOCATION:Santa Monica College\, 1660 Stewart St\, Santa Monica\, CA 90404\, Santa Monica\, CA\, -\, United States
CATEGORIES:Conferences
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/04/neil-denari-andyjscott-2132-cropped-586x732-crop-50-50.jpg
ORGANIZER;CN="Santa Monica College":MAILTO:welcomecenter@smc.edu
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