Building materials

MIAS Architects Expands Banyoles' Historic Urban Realm with Travertine Integration

MIAS Architects has recently completed the newest segment of their extensive urban renewal initiative in Banyoles, Spain. This endeavor encompasses Plaça d'en Ges and the adjacent thoroughfares of Sant Martirià and Sant Antoni, furthering a comprehensive urban strategy that has been in development for several decades. The project primarily employs locally sourced lacustrine travertine, integrating it into the city's streets, public areas, furnishings, and various landscape elements, thus maintaining a cohesive aesthetic throughout the historic core.

The current phase of the project builds upon foundations laid approximately thirty years ago with initial conceptual designs, followed by the first construction efforts two decades later. This latest intervention meticulously adheres to the established principles of the original plan, which involved re-paving medieval streets and squares with travertine while simultaneously unveiling ancient water canals. This approach has successfully forged a unified pedestrian landscape. In this most recent development, the application of travertine has been expanded beyond flat surfaces to sculpt benches, define edges, create planting beds, and articulate subtle changes in ground elevation.

The transformation involves shaping large blocks of travertine through cutting, fracturing, and carving techniques to expose the stone's inherent layers. This process creates a dynamic interplay between smooth horizontal surfaces and rugged vertical cuts, establishing a material dialogue that echoes the surrounding building facades, historic water channels, and natural geological formations. In Plaça d'en Ges, a continuous travertine perimeter encircles the existing plane tree and cast-iron fountain, delineating a more intimate urban space within the larger square. This intervention reconfigures a former traffic island into a dedicated pedestrian zone, where the stone ingeniously serves multiple functions: as paving, seating, landscape edging, and integral planting infrastructure.

MIAS Architects' design extends this consistent material palette across the square and its neighboring streets, ensuring that each individual element contributes to a unified urban system. The project harmoniously blends cutting-edge stone-cutting technologies with time-honored craftsmanship and on-site adaptation, allowing each block to be precisely tailored to its specific location and intended purpose. This thoughtful integration underscores a long-term material strategy that adapts local stone for contemporary urban needs, reinforcing the historical character of Banyoles while enhancing its modern functionality.

The project intricately links paving, furniture, and green spaces as interdependent facets of the public domain. Travertine blocks define transition points, seating areas, variations in elevation, and compact planted zones, showcasing the material's versatility across different scales of the intervention. The streets and square are reconfigured into a continuous surface that streamlines pedestrian flow and gently manages changes in ground level. Previously fragmented or underutilized areas are now seamlessly integrated into the pedestrian network, transforming narrow lanes into vibrant civic thoroughfares and establishing Plaça d'en Ges as a more defined urban setting. The material strategy also meticulously respects the scale of the adjacent historical buildings, with minimal metal accents and subtle lighting complementing the travertine without introducing competing visual elements to the existing urban fabric.

The project represents the latest advancement in an ongoing architectural language, utilizing the same indigenous stone in innovative forms and applications. Its evolution from basic paving into seating elements, retaining walls, planting beds, and other urban features illustrates how a cohesive material system can adapt to evolving spatial demands while preserving continuity across successive construction phases. By merging digital stone fabrication with traditional techniques and site-specific adjustments, MIAS Architects continues to harness the potential of lacustrine travertine as both a structural material and an organizational element for public spaces. The completed work reinforces the long-standing vision of creating a coherent pedestrian landscape throughout Banyoles' historic core, effectively bridging the town's rich material heritage with contemporary urban design methodologies.

This long-term urban development is a testament to MIAS Architects' enduring vision, which started with initial conceptualizations decades ago and has steadily progressed through various construction phases. The consistent use of local travertine is not merely an aesthetic choice but a strategic one, aimed at creating a harmonious and unified public realm that respects Banyoles' unique historical identity while embracing modern urban planning principles. The seamless integration of stone into various functional and decorative elements ensures that the city's past and present coexist gracefully, offering residents and visitors a coherent and engaging urban experience.

Sophia Collender's Open-Source Experimental Paint Archive Redefines Art Materials

Artist Sophia Collender has pioneered the 'Experimental Paint Archive,' a groundbreaking open-source collection showcasing fine art materials that are not only biodegradable and non-toxic but also entirely reusable. This innovative project stems from the understanding that the history of paint itself is a narrative of material exploration, often fraught with financial, physical, and environmental risks for artists pursuing specific aesthetic outcomes. Collender's vision seeks to mitigate these hazards by offering accessible and sustainable alternatives.

Sophia Collender's Vision: Redefining Art Materials with Biomaterial Innovation

The core of Sophia Collender's 'Experimental Paint Archive' lies in its detailed documentation of techniques designed to reduce the inherent dangers of crafting art materials from raw ingredients. Collender, with meticulous dedication, has iterated upon the conventional 'pigment + binder + liquid vehicle' formulation that has dominated paint production for centuries. Her work draws inspiration from a diverse range of sources, including historical paint recipes, contemporary biomaterial advancements, and existing research into conductive and magnetic substances. The majority of these inventive mixtures were developed through hands-on experimentation, combining scientific rigor in ITP's biomaterials lab with the resourceful spirit of home-based culinary and mixing processes. This unique blend of traditional artistry and modern science positions Collender's project as a pivotal moment in the evolution of art material sustainability.

This innovative archive holds significant implications for the future of art creation. By emphasizing sustainability, accessibility, and safety, Sophia Collender challenges artists to reconsider their material choices and embrace environmentally conscious practices. Her work not only provides practical solutions for reducing the ecological footprint of art but also inspires a new generation of creatives to explore the vast potential of biomaterials and open-source collaboration in the pursuit of artistic expression. It's a powerful statement that art, in its purest form, can and should be in harmony with our planet.

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VCUarts Qatar Unveils "Thresholds of Perception" at Venice Biennale 2026

Virginia Commonwealth University School of the Arts in Qatar (VCUarts Qatar) is making a significant contribution to the Venice Biennale 2026 with its collective exhibition, "Aghrab Idrāk: Thresholds of Perception." This presentation, an Official Collateral Event, runs from June 1 to November 22, 2026, at the historic Palazzo Cavanis. Co-curated by Dr. Hesperia Iliadou and Chase Westfall, the exhibition features the work of ten interdisciplinary research labs from the university's Institute for Creative Research (ICR). Through diverse fields like robotics, spatial typography, sound art, and nanotechnology, the exhibition aims to transcend conventional displays, instead offering a vibrant collection of dynamic, tangible, and sensory inquiries. It boldly questions Western-centric methodologies and Earth-focused viewpoints, fostering a global dialogue that transforms individual insights into collective understanding.

Dean Amir Berbić of VCUarts Qatar highlights the prestige of being selected for the Venice Biennale, emphasizing it as an unparalleled opportunity to showcase years of creative inquiry. He articulates the exhibition's core philosophy: creative exploration is not merely a reflection of culture but an active force in shaping our comprehension of it. This sentiment is echoed by VCU President Michael Rao, PhD, who sees creative research at VCUarts Qatar as a profound mode of innovation, offering rigorous yet deeply human perspectives on intricate societal, cultural, and environmental challenges.

The exhibition powerfully illustrates VCUarts' global presence, with its unique operational model spanning two distinct cultural environments: Richmond, Virginia, and Doha, Qatar. These dual campuses serve as dynamic hubs where faculty, students, and alumni engage in cross-disciplinary collaborations, united by a commitment to relentless experimentation and critical examination. Supported by a long-standing partnership with the Qatar Foundation, the Institute for Creative Research cultivates ethically-driven, human-centered design, generating innovative solutions for complex issues that defy simple answers.

Within the halls of Palazzo Cavanis, attendees journey through distinct yet interconnected sensory environments, where sound, craftsmanship, and technological advancements are intricately woven into evolving ecological and material narratives. For instance, the (IN)>Tangible Lab's "Mapping Migration Memories" transforms personal oral histories and ancient desert pathways into a rich, tactile soundscape, portraying the desert not as an abstract concept but as a vibrant, living ecosystem. This fluid perspective is extended in the GA:MA Lab's "Oceans & Lands: Drifting Senses and Knowledges," which employs historical objects alongside fabrics, spices, and auditory elements to chart transcultural experiences and movements across the Indian Ocean.

Communication itself undergoes a fundamental reinterpretation through projects such as TypeAraby's "Bandhani Arabi: From Thread to Word." This initiative partners with Muslim women artisans in Bhuj, India, leveraging the traditional tie-dye technique of Bandhani to generate Arabic typographic letterforms. Nearby, Sonic Jeel's "Sonic Fields" utilizes a modular synthesizer to manipulate and merge public sound recordings from Doha, ranging from the sounds of harbor dhow boats to the echoes of the World Cup, creating an evolving, unpredictable acoustic chronicle of a city in transformation.

As visitors proceed, the traditional distinctions between nature and machinery begin to dissipate. Boost Lab's "Chrysalis" unveils a kinetic, breathing sculpture that actively purifies contaminated air. Its rhythmic movements provoke contemplation on planetary fragility and the imperative of coexistence. "The Gulf Between Us" by Water With Water evolves a five-year crowdsourced photography zine into a three-dimensional installation of suspended, layered large-format prints, constructing a collective, non-hierarchical depiction of life in the region. The Anthro-tech Atelier's "Whispers from United Geekdom" further explores the social dimensions of the Gulf, employing intimate video portraits and a modular grid to celebrate the creative empowerment and identity formation within local gaming, cosplay, and role-playing communities.

Towards the exhibition's conclusion, technology serves as both an architectural and philosophical reflection. xLab's "Preceding Emptiness" addresses the Latin alphabet's dominance in digital infrastructure by creating a large-scale digital environment for Arabic script using a structural grid of 60cm LED tubes, drawing inspiration from the historical geometry of square Kufic inscriptions. This is complemented by Mesh Lab's "A Monocular Monologue," where a 3D-printed, single-eyed robotic entity gazes upon the observer, continuously uttering poetic meditations that contextualize modern artificial intelligence within the enduring legacy of ancient mythology and human aspiration. Finally, AlBokeh Lab's "... and I Was Left Behind" (راحوا و خلوني) is a profound documentary film that uses the meticulous, repetitive art of textile repair to capture the deep emotional connections that persist amidst the trauma of migration, separation, and political divisions in the Gulf region.

The Arabic phrase "aghrab idrāk," meaning 'strange knowledge' or 'unusual perception,' harks back to historical philosophical dialogues between ancient Greek and Arab civilizations. Within Palazzo Cavanis, this concept materializes as a series of physical thresholds where light, shadow, sound, and the natural world intermingle. By promoting knowledge frameworks rooted in hybridity, diversity, and contextual responsiveness, the exhibition redefines exhibition-making as a crucial arena where various phenomena converge, challenge, and mutually sustain one another. Ultimately, the cumulative research displayed acts as a profound global dialogue, transforming fleeting individual observations into enduring collective insight.

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