Vancouver’s First Supertall Was Inspired by the Ocean Floor

Vancouver has always had good bones. The mountains, the water, the way the city sits between them like it was planned by someone with an eye for drama. But for all its natural beauty, its skyline has played it relatively safe. That’s about to change, and the agent of disruption is, of all things, a sea sponge.

Henriquez Partners Architects, a local Vancouver studio, has unveiled designs for 595 West Georgia Street, a 1,033-foot tower that will become the city’s first-ever supertall skyscraper. To earn that designation, a building has to exceed 984 feet, which puts 595 West Georgia just barely in that club and makes it a landmark before a single floor has been built. It’s the centerpiece of a larger trio called Georgia & Abbott, developed by Holborn Group, but this one is clearly the main event.

Designer: Henriquez Partners Architects

The design draws from the glass sea sponge reefs, specifically hexactinellids, found off the coast of British Columbia. These aren’t the bath sponges you’re picturing. They’re ancient, rare, deep-sea organisms with a crystalline skeletal structure that is simultaneously porous and structurally formidable. Henriquez Partners didn’t just borrow the idea aesthetically; they borrowed it structurally. The building is wrapped in a steel exoskeleton clad in white Glass Fibre Reinforced Polymer panelling, with highly translucent spans of glass filling the rest. That external framework carries the structural loads, which means fewer internal columns, more open floor plates, and a surface that looks woven and textured rather than sealed and flat.

That last distinction matters more than it sounds. Glass-box towers have dominated skylines for decades, and while some are genuinely beautiful, most are just reflective. They bounce light around and blend into each other. 595 West Georgia is going for something different: depth. The lattice of the exoskeleton creates shadows and layers depending on where you’re standing and what time of day it is. It moves, visually, in a way that most modern towers simply don’t, which makes looking at it feel more like watching a living surface than a fixed object.

Henriquez Partners described the design as telling “a story that is unique to British Columbia.” That kind of regional specificity is increasingly rare in architecture, where global firms often produce work that could exist in Dubai just as easily as Dallas. The fact that this building could only make sense in Vancouver, because the glass sponge is native to BC’s coastal waters, gives it a conceptual integrity that goes beyond branding. It’s a building that knows where it lives.

The program is equally considered. 595 West Georgia will function as a hotel tower, with conference facilities, a rooftop restaurant, and a publicly accessible observation deck at the top that will be free for Vancouverites to visit. That detail alone shifts the building’s relationship to the city. A supertall designed to be shared with the public rather than sealed off for guests feels like a genuine gesture, and it suggests that the architects and developer thought about this tower as part of the city’s fabric, not just its skyline profile.

The whole project sits at a compelling intersection of ideas. It’s biomimicry applied at an urban scale, which is a growing conversation in both design and engineering. It’s also a statement about what cities are willing to reach for, literally and figuratively. Vancouver has been measured about its height limits for years, and for good reason. The city’s low-rise character has long been part of its identity. Greenlighting a supertall signals that the city is ready to stretch those boundaries, and having one that can argue its design philosophy this clearly makes that shift feel earned.

Whether 595 West Georgia turns out to be as striking in person as the renderings suggest is something only construction can answer. But the foundational idea, that the most interesting path forward might look like something pulled from the ocean floor, is exactly the kind of thinking that makes architecture worth paying attention to right now. Not every city gets to say its most ambitious tower was modeled after an organism that’s been living quietly underwater for centuries. Vancouver gets to say that.

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A Net-Zero Research Building That Actually Respects Its Landscape

Most university research facilities share a certain visual language. You know the one: utilitarian, slightly apologetic in appearance, the kind of building that exists to check boxes and contain equipment rather than inspire the people who work inside it. The University of Toronto’s Koffler Scientific Reserve is not that building.

Completed in May 2025 and designed by Toronto-based Montgomery Sisam Architects, the 2,680-square-metre facility sits on 350 hectares in the Oak Ridges Moraine in King Township, Ontario, about an hour north of the city. It serves as a research and teaching base for ecology and environmental biology students and faculty, combining dormitory space, a dining hall, a classroom, and a common room into a single, beautifully considered structure. On paper, that sounds modest. In execution, it’s one of the more thoughtful buildings to come out of Canada recently.

Designer: Montgomery Sisam Architects

What makes the Koffler Reserve stand out is how deliberate its design philosophy is. Principal Robert Davies put it plainly: “Researchers there study the smallest changes in organisms to understand systems at a global scale, and that relationship between the micro and the macro became the lens through which we evaluated every design decision.” That’s not just a nice quote for a press release. You can actually feel that thinking in the architecture.

The building’s two prominent shed roofs, for instance, aren’t purely aesthetic choices. They’re angled precisely to optimize solar panel placement based on the site’s latitude, which in turn informed the entire formal expression of the structure. The flat roof and sunshade over the common room’s pitched elevation are carefully positioned to welcome the warming winter sun while blocking the uncomfortable heat of summer rays. Every element earns its place, and that’s exactly the kind of intentional design thinking that makes a building worth talking about.

The material choices reinforce this sensibility. The structure is a hybrid of mass timber and conventional light-frame wood construction, using glulam columns and beams with a tongue-and-groove roof. The exterior is clad in shou sugi ban wood, the Japanese technique of partially charring wood to increase its water-resistance and durability. It’s a material that ages honestly and fits the agrarian character of the site, which started life as a series of agricultural plots, became an equestrian centre in the 1950s, and was donated to the university by philanthropists Murray and Marvelle Koffler in 1995. The building knows where it is, and that’s a quality that is rarer than it should be.

The Reserve’s C-shaped main building houses 20 students, while a cluster of 20 separate bunkies accommodates up to 40 more. The shared amenities, including the kitchen, bathrooms, and living spaces, are deliberately oversized to support larger summer populations and to encourage the kind of informal gathering that actually makes collaborative research work. The design is thinking about people, not just program. That distinction matters more than most architects will admit.

Below grade, a ground source heat pump circulates fluid through deep underground pipes to warm the building in winter and cool it in summer. Paired with the solar panels and passive design strategies, the project is working toward net-zero carbon and energy goals. I’ll be honest: sustainability claims in architecture have become so reflexive and routine that they’ve started to lose meaning. But at Koffler, the sustainable systems are so deeply woven into the structure’s formal logic that they feel like genuine convictions rather than marketing additions.

The Reserve sits within a landscape of wetlands, forests, and grasslands that scientists there study every single day. The building respects that by not trying to compete with it. It settles into the site rather than announcing itself, which takes real confidence for an architect to pull off. Confidence, and a genuine understanding of why the building exists in the first place. It would be easy to overlook this project because it doesn’t carry the dramatic scale or cultural visibility of a museum or a concert hall. But the Koffler Scientific Reserve is the kind of work that quietly raises the bar for what institutional architecture can be, and it deserves attention for exactly that reason.

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This Seoul Studio Just Grew a Building From Mushrooms


Picture a world where buildings aren’t just constructed but cultivated, where walls grow in custom molds and construction materials come from nature’s own filtration system. It sounds like science fiction, but on the campus of Seoul National University of Science and Technology, that vision became reality in 2024 with the Mycelial Hut.

Designed by Yong Ju Lee Architecture, this project arrives at a critical juncture. The architecture and construction sector currently accounts for the highest carbon emissions among all global industries. After 10,000 years of evolution alongside humanity, architecture entered the 20th century prioritizing efficiency and economy above all else, adopting concrete and steel as its near-exclusive materials. This pursuit of industrial optimization, while enabling rapid development, detached architecture from its ecological roots and intensified the environmental burden of the built environment.

Designer: Yong Ju Lee Architecture

Following the era of environmental crisis and the pandemic, a new approach has emerged to redefine sustainability itself. Organism-based composite materials present fresh possibilities for architecture, challenging the non-recyclable and non-degradable nature of inorganic construction materials. The Mycelial Hut experiments with mycelium, the fungal network that serves as nature’s filter, to reinterpret what eco-friendly architecture can be.

But here’s where it gets really interesting. This isn’t about simply replacing one material with another. The project explores bio-integrated fabrication methods that align growth, decay, and design within a single process. Think of it as architecture that understands its own lifecycle from the moment it begins taking shape.

The Mycelial Hut demonstrates large-scale application of mycelium as a building material through customized molds fabricated by robotic 3D printing. This design-based research produces a bio-hybrid pavilion where a wooden frame serves as the structural backbone while customized mycelium panels form the external envelope. It’s a marriage of old and new, natural and digital, strength and adaptability.

The process itself reads like an experimental recipe. In the initial phase, various types of mycelium substrates were tested to evaluate their workability, growth, and strength. Based on these results, specific molds were fabricated using 3D printing. Then came the innovation that makes this project particularly fascinating: a new workflow combining industrial robotic arms was established to merge digital processes with natural growth systems. The result is a large-scale structure that embodies the coexistence of computation and biology. Robots and fungi working together. Algorithms guiding organic growth. It’s the kind of collaboration that wouldn’t have made sense even a decade ago, but now feels inevitable.

What makes the Mycelial Hut more than just an interesting experiment is how it addresses the real challenges of fungal material application. Mycelium is structurally weak compared to concrete or steel. It grows unpredictably. It needs specific conditions to thrive. These aren’t bugs in the system but features that demand smarter design thinking. By using geometry, custom molds, and a supportive wooden frame, the project demonstrates the feasibility of bio-composites for architectural construction without pretending the material is something it’s not.

The location matters too. Situated on a university campus, this bold installation makes the concept of sustainable architecture tangible and accessible in everyday life. It’s not hidden away in a research lab or showcased only at industry conferences. Students walk past it. Visitors encounter it. The project invites everyone to imagine a future where buildings respond to their environment because they’re fundamentally made from it.

We’re watching a shift in architectural thinking that goes beyond sustainability buzzwords. When your building materials can be composted after use, when construction happens through cultivation rather than extraction, when robots program molds for fungus to fill, you’re not just reducing environmental impact. You’re reimagining what construction can be. The Mycelial Hut suggests that the next revolution in architecture won’t come from stronger concrete or lighter steel but from learning to work with living systems. By combining digital fabrication with biological growth, Yong Ju Lee Architecture has created something that’s both cutting-edge and ancient, high-tech and earthy, experimental and surprisingly practical.

The real question isn’t whether we can build with mushrooms. The Mycelial Hut proves we can. The question is whether we’re ready to rethink our entire relationship with materials, growth, and the built environment. On a university campus in Seoul, that conversation has already begun.

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Nintendo Museum to showcase 132 years of the company’s gaming history

At one point in most people’s lives, they have probably played with or interacted with a Nintendo gaming device. Now what device that is is of course depends on the generation but with more than a hundred years of experience in creating games, there are a lot of things to choose from. And if you’re a die-hard fan of their various games and consoles, then you’ll want to book a ticket to what will surely be the hottest thing in town in a couple of months.

Designer: Nintendo

Yes, we are finally getting a Nintendo Museum opening this October and built on the very space where they started creating hanafuda playing cards in 1889. Because this company has gone through many evolutions since then, you can expect a fun and interactive history lesson spanning a century of family entertainment. There will be various exhibits as well as a cafe and of course, an extensive merchandise shop that will celebrate all kinds of games and technology. There will also be arts and crafts and workshops section where you can do things like create your own hanafuda cards.

The first floor of the Exhibition Building 1 has eight interactive play experiences. Each visitor will get a card that contains ten digital coins to be able to try out the exhibits. They did not specify it but you will probably be able to top up the card if you want to try out everything. The Shigureden SP lets you explore Hyakunin Isshu poems using your smart device and viewing it on the giant screen. The Ultra Machine SP rooms lets you hit balls pitched by a machine and hit items in the room that will react. The Zapper & Scope SP gives you a shooting experience in the world of Mario while the Ultra Hand SP lets you grab balls rolling down lanes and dropping them in pipes. You can also play Nintendo games in areas like the Game & Watch SP, Nintendo Classics, and Big Controller with giant game consoles. There’s even a Love Tester SP where you can see if you and your loved one are compatible.

On the 2nd floor is the museum part where there are exhibits of everything that Nintendo has created throughout the years. This includes the era before they created gaming devices and it includes copying machines, baby strollers, and of course the hanafuda cards and various board games. But of course the highlight would be all the gaming consoles and games that have made them arguably the most popular entertainment company in the world. The Nintendo Museum opens in October but you can already buy your tickets, although if you’re familiar with Japan ticketing, you know that it’s via a randomly selected drawing.

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Staggered Skyscraper In Tirana Is Made Up Of 13 Cube Volumes Making It A “Unique Vertical Village”

Designed by Portuguese studio OODA, this stunning and impressive skyscraper is made up of 13 staggered cube volumes and is intended to be the design for the Hora Vertikale residential development in Tirana. It is supposed to be unveiled in spring 2024 and is designed to be a 140-meter-tall building that will house apartments placed over a park amped with multiple public amenities.

Designer: OODA

Nestled in the Albanian capital Tirana, OODA designed the Hora Vertikale to engage with the local community and describes the towering structure as “a unique vertical village set amidst a large green city”. 13 cubes have been designed and created in seven variations, and each cube measures 22.5 meters by 22.4 meters and is seven stories tall, which is typically the height of buildings in Tirana.

The foundation or base of the building comprises three rows of three cubes, with a couple of them set apart and rotated a bit to create a narrow gap. Two side-by-side cubes sit on the top, followed by two singular ones that in turn form an expansive building that is six cubes tall. The cube at the top will be equipped with angular balconies that are supported by columns punctuating the perimeter. “Each cube embodies a unique concept related to art and is also inspired by the local vernacular,” said OODA.

What makes the building even more impressive, is that it will be made from locally sourced materials from Albanian, which will reduce its carbon footprint, and also provide support to local businesses.

“The result is a building that leaves a lasting impact on both city visitors and those who live there,” said the studio. “From a distance, the building presents distinct elevations and perceptions from different views around the city. Up close, the concept’s playful interplay reveals its secrets, and the compositions step back from the main road towards the park at the rear, creating the most adequate transition in terms of scale.”

This stunning building is set to be the latest high-profile skyscraper to be constructed in Tirana with a rather unique design that instantly grabs eyeballs.

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Tiny Forest In Seoul Is A Tiny Study/Relaxation Space Designed To Be A “Microcosm For Oneself”

This flexible study space in Jongno-gu, Seoul is designed by YounghanChung Architects in an attempt to “eliminate unnecessary spaces as much as possible”. Dubbed Tiny Forest, the two-story building was built for a retired university lecturer, who wanted to have a separate space from her main home – a space that would function as a study, and as an intimate space to host and entertain guests. The space is inspired by a sarangbang which is found in traditional Korean homes, where usually the man of the house hosts guests or indulges in hobbies.

Designer: YounghanChung Architects

“Spaces as a hobby space or study have gradually loosened in the frame of housing, and lost the power of their original function,” said founder Younghan Chung. “However, the desire to escape from the house and experience a space like a microcosm for oneself is desperate for all of us living in modern times…[so] this building was intended to create a small private room,” he said.

Tiny Forest was designed to be a dedicated study and relaxation space, a serene zone that is nestled away from the hustle and bustle of the main house. The building is made up of two stacked cubes, with the upper cube a little rotated, while both are supported by a steel frame, and clad in corrugated metal in the color white. The different floors of the space were designed as single and flexible spaces, each one amped with a bathroom and generous storage space. The spaces are defined by minimal fittings and fixings, creating a smooth and quaint area. “Conventional structural methods can trap the choreography of users with diverse ways of life within a strictly prescribed framework,” said Chung.

The ground floor features an exposed steel structure in the color white, as well as a massive shopfront-style window that provides views of the street, while also holding an external bench. The space above is wood-lined creating a warm and minimal ambiance, and is equipped with built-in desk space and bookshelves alongside one wall. An external spiral staircase connects both the two floors and is located at the rear of the building. While another staircase connects the western side of the upper level to a tranquil rooftop garden.

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