The Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL) has announced a shortlist for the design of a new modern and contemporary art museum in Beirut, Lebanon. The yet to be named museum will be located in the city’s historic center on land owned by the Université Saint Joseph and directly opposite the National Museum of Beirut. A masterplan for the site includes new campus facilities for the university, a business center, and the museum, all sharing green common areas and underground parking.

OMA's first building in Manhattan will be a condo project at 122 East 23rd Street, built in collaboration with Toll Brothers City Living. Designed by OMA's New York principal Shohei Shigematsu, the residential tower culminates a decade leading the office and several previous attempts to realize a project in the region.

Manuelle Gautrand Architecture, DesignInc, and Lacoste + Stevenson have won an international competition for the design of a civic and community building in the Australian city of Parramatta. The six-story, 12,000 square meter building, a mixture of rectilinear sharpness and parabolic curves, extends back from the city’s Victorian Free Classical style town hall. The new structure will include a variety of spaces, including: council chambers and offices, a library, public roof gardens, a customer care center and visitor experience center, community meeting rooms, a technology hub, and an innovation space.

The Venice Biennale has released a list of 19 Collateral Events that will take place alongside the 15th International Architecture Exhibition, Reporting from the Front, curated by Alejandro Aravena and chaired by Paolo Baratta. Previews of the main event begin May 26th and 27th, and it is open to the public from May 28th to November 27th 2016.

The collateral events, each selected by Alejandro Aravena and promoted by a non-profit sponsor, take place around Venice, and, in the words of Paolo Baratta, "[they] contribute, along with a good number of participating countries that do not have a pavilion in the Giardini or in the Arsenale, to spread the 15th International Architecture Exhibition by turning it into an urban phenomenon, that would engage every corner of the city."

The complete list of events can be found below, and make sure to follow ArchDaily's complete coverage of the Venice Biennale.

Pier 55, the floating park designed by Heatherwick Studio and landscape architecture firm, Signe Nielsen, received a green-light from the New York Supreme Court this past Friday, April 8, according to a report by the Architect’s Newspaper. Floating above the Hudson River on the Lower West Side of Manhattan, the park is anchored by an aggregation of enormous petal-like stilts that are submerged in the water below. The park is being funded by the philanthropy of Diane von Furstenberg and her husband Barry Diller.

Pier 55’s legal troubles began last spring when the non-profit, City Club of New York filed a lawsuit against Pier55 Inc. and Hudson River Park Trust (HRPT) to stop the project.

Herzog & de Meuron have released new images of their design for National Library of Israel. Located on a prominent site in West Jerusalem, the National Library is at the base of the Knesset (Israel’s parliament) and adjacent to the Israel Museum, Science Museum and Hebrew University.

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Rafael Moneo has unveiled the design of his first Miami project, a luxury high-rise at the north end of the city. Known as Apeiron at The Jockey Club, or simply Apeiron, the condo project features a pair of towers to be completed in separate stages and will include 240 serviced residential units, a 90-key boutique hotel, a deep-water marina, health and wellness facilities, and outdoor pools. With Apeiron, The Jockey Club hopes to hearken back to its 1970s heydey, when it was a center of Miami’s vibrant social and nightlife scenes. Apeiron, a Greek work meaning ‘limitless’, is at 11111 Biscayne Boulevard, a location with expansive views of the water and surrounding landscape.

Next month, the AIA National Convention is heading to Philadelphia! As the premier architecture and design conference of the year, this is a can’t-miss event for those involved with the industry. If you haven’t yet purchased your pass, we’re offering a chance to attend free of charge!

reThink Wood is offering a full pre-paid pass to the 2016 AIA National Convention ($1,050 value) to one lucky ArchDaily reader. The winner will have the chance to meet with architects, engineers, academics and developers that are passionate about innovative design with wood.

To win, just answer the following question in the comments section before Friday, April 22 at 12:00 p.m. ET: Which mass timber building in the U.S. has most inspired you? 

OMA has revealed the design for its first skyscraper in Tokyo. A tower with a torqued front-facade, the building incorporates an elevated park and access to a new Hibiya Line subway station in a project that mixes hotel, office, and retail components.

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Photographer Laurian Ghinitoiu has captured the collaboration of the Swedish fashion retailer COS and Japanese architect Sou Fujimoto for this year's Salone del Mobile in Milan.

"In this installation for COS, I envisage to make a forest of light," said Fujimoto. "A forest which consists of countless light cones made from spotlights above. These lights pulsate and constantly undergo transience of state and flow. People meander through this forest, as if lured by the charm of the light. Light and people interact with one another, its existence defining the transition of the other."

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Created for the 2016 Milan Design Week, MAD Architects’ “Invisible Borders” installation is part of the “Open Borders” exhibition curated by Italian magazine Interni. Taking place in the traditional Cortile d’Onore courtyard of Università degli Studi di Milano, the installation is a canopy made from ribbons of ETFE in gradient colors, which has a lightness and flexibility that allows it to rustle in the wind and generate a subtle whistling sound. According to MAD, “The installation reflects the hues of the sky during the day, leaving glimpses of the columns and loggias. In the evening it becomes a luminous surface that brings the courtyard to live with new colors.”

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The British firm RMJM, founded in 1956 by Robert Matthew and Stirrat Johnson-Marshall with its first offices in London and Edinburgh, is celebrating its 60th anniversary. The international firm has grown considerably in six decades and now boasts offices and design studios in numerous cities – including New York, Buenos Aires, Santiago, Shanghai, Karachi, Dubai, Pretoria, Nairobi, and many more – on five continents.

The firm's early success in the United Kingdom led to international commissions in the Middle East and North Africa, with RMJM anticipating the impending globalism of the architecture profession, its actions allowing it to become "one of the largest and most geographically diverse architecture firms in the world." Read on for a small selection of RMJM's most notable designs, with one example taken from each decade of the firm's illustrious past.

A competition now in its 11th year, eVolo Magazine has announced the winners of its 2016 Skyscraper Competition: a group of three top prizes and 21 honorable mentions culled from 489 entries. The award annually recognizes the vanguard of high-rise construction "through [the] novel use of technology, materials, programs, aesthetics, and spatial organizations." Among this year's winners are a project that proposes digging down and creating a megastructure along the perimeter of Central Park, a skyscraper that acts as a hub for drones in future commercial applications, and a tower that takes advantage of the climate of Iceland as an ideal location for data servers.

At last year’s inaugural Chicago Architecture Biennial, one of the celebrated exhibits was Architecture is Everywhere by Sou Fujimoto Architects, in which the firm used everyday items like staples, boxes, potato chips, rocks, and ping pong balls, coupled with scaled human figures to posit new architectural forms. Operating with the philosophy that “architecture is first found and then made,” the project expresses the firm’s belief that we need not look to typical sources for bold thinking on the formal possibilities of architecture.

Building on this philosophy and using only the white-brick Legos from the company’s Studio Architecture kit, Berlin-based artist Arndt Schlaudraff has created a series of constructions that emulate real-world precedents, but lack their materiality and color. The results are sterilized, scaleless forms restricted by the orthogonality of the interlocking brick forms. These stripped Brutalist and Modernist buildings morph into white-washed facsimiles which allow us to see many recognizable projects with a set of fresh eyes. Posting the completed projects on Instagram, Schlaudraff has reimagined icons like the Tate Modern, Alejandro Aravena’s Innovation Center UC, and the Barcelona Pavilion of Ludwig Mies van der Rohe, interspersing them with his own creations and adding another layer of reality distortion to that which is already enabled by the Legos.

It’s a shame that the inaugural Chicago Architecture Biennial has already come and gone, and that the Windy City will have to wait until next fall for another dose of architectural euphoria. But it’s worth revisiting one of the event’s standout exhibits, an installation equally exemplary for its display as for its expiry. “Rock Print,” created by Gramazio Kohler Research of ETH Zurich and Skylar Tibbits of MIT's Self-Assembly Lab, was a four-legged, neo-primitive tower of stones and string that was erected without mortar or other reinforcement, meaning its disassembly would be the exact inverse action of its construction. The string, laid down by an algorithm, was the binder for stones laid by hand in thin stacks – the team called them “slices” – in what amounted to a type of analog version of 3D printing. The material process has been given the name “reversible concrete” and could be a paradigm shift in construction for its portability and versatility.

In the above video, the deconstruction of “Rock Print” is shown in abridged stages, where the structure’s string is dislodged and returned to a motorized spool on the gallery floor. The small stone fragments spew from the top of the structure like debris from the top of a volcano in the midst of eruption, and all that remains at the end is a small mound of concrete pebbles occupying a large circumference. A structure like “Rock Print” emphasizes that detritus can be avoided by adapting the process of building to vanguard materials that seek to match the brevity of contemporary construction with materials that curtail the waste.