2026 International Garden Festival: Five Visionary Gardens Explore the Landscape of the Senses

Building design
The 2026 International Garden Festival in Grand-Métis will showcase innovative garden installations that uniquely blend landscape architecture, art, and nature. Photo credit: bureau60a via v2com
The 2026 International Garden Festival in Grand-Métis will showcase innovative garden installations that uniquely blend landscape architecture, art, and nature. Photo credit: bureau60a via v2com

How do people truly experience a place? Not as a point on a map, but through memories, smells, light, sounds, and emotions. With this question in mind, the 2026 International Garden Festival in Grand-Métis (Québec) addresses a highly topical issue in contemporary landscape architecture. Under the theme “Mapping Sensitivity,” five selected garden installations will present new perspectives on how landscapes can be designed, perceived, and experienced.

From June 20 to October 4, 2026, the historic Reford Gardens will once again be transformed into an international stage for experimental garden art, innovative landscape architecture, and sustainable design.

Mapping Sensitivity: Gardens as Emotional Maps

The 27th edition of the International Garden Festival builds on the thematic cycle that began in 2025. While the previous exhibition focused on geographical boundaries, the current edition centers on the subjective perception of a place.

The term “sensitive mapping” describes a form of cartography that does not document roads or borders, but rather makes personal experiences and emotional connections to landscapes visible. Factors such as culture, memory, sensory perception, and individual experiences are incorporated just as much as ecological relationships.

Especially in times of climate change and increasing urbanization, this approach is becoming increasingly important within modern landscape architecture.

From a total of 204 submissions from 29 countries, the international jury selected five projects that will shape this year’s festival.

Again, a Garden – Experiencing Nature’s Cycles

The design by Canadian-American designer Hugh Taylor reinterprets the classic walled garden. A pavilion structure made of fallen tree trunks provides a setting for native flowering plants and pollinators.

The focus is on natural cycles. Decay and new life are not seen as opposites, but as inseparable components of a functioning ecosystem.

Frame – Architecture Shapes Our Perception

With his installation, German landscape architect Ulli Heckmann explores how architecture influences our view of landscapes.

Sculptural frames deliberately direct visitors’ attention and create varying degrees of openness and intimacy. This constantly generates new perspectives on the same environment and highlights the fact that perception is always subjective.

Mentho-artemision – Experiencing Landscape with All the Senses

French designer Etienne Lapleau condenses diverse landscape spaces into a very small area.

Mint and mugwort normally grow under completely different environmental conditions. Their unusual combination creates intense transitions between dry and moist, which visitors can experience directly through smell, touch, and visual impressions.

Tainai-Meguri – Between the Digital World and Nature

The team at Measured Architecture Inc.—Tamotsu Tongu and Kumpei Wakino—explores how digital spaces alter our perception.

A curved wooden structure evokes a walk-in cave where water, light, and vegetation merge into a meditative landscape. The project invites visitors to rediscover the connection between inner perception and the natural environment.

Worm’s Eye – The Landscape from a New Perspective

With “Worm’s Eye,” American designer Ellen Harris develops a deliberate counterpoint to the classic bird’s-eye view.

Instead of viewing the landscape from above, the installation brings local, intimate perspectives to the forefront. Inspired by the ideas of anthropologist James C. Scott, the project challenges traditional forms of cartographic order and opens up a more personal approach to the site.

International Platform for Innovative Landscape Architecture

Since its founding in 2000, the International Garden Festival has been one of the most significant events of its kind in North America. Over 180 contemporary garden installations have already been realized, making Grand-Métis an important meeting place for landscape architects, architects, artists, and designers from around the world.

Each year, more than 20 temporary gardens are created that address current social, ecological, and design issues and present innovative solutions for public spaces.

The festival is held at Reford Gardens (Les Jardins de Métis), one of North America’s most renowned garden complexes. Created between 1926 and 1958 by gardening pioneer Elsie Reford, the gardens are now designated a National Historic Site of Canada and rank among the world’s most significant historic gardens.

The year 2026 also marks the start of the centennial celebrations for Reford Gardens—a fitting setting for a festival that brings together the past, present, and future of garden art.

More information here

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Flexible solutions with sand-lime brick

Building design
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At BAU 2017, KS* will be presenting sustainable products and systems for the economical realization of residential construction projects under the guiding theme “New residential construction with a future: solidly built with sand-lime brick”. Based on its KS-Original, KS-Plus and KS-Quadro product lines, the brand association of medium-sized sand-lime brick manufacturers is focusing on flexible solutions for architecture that retains its value.

To adapt buildings to different usage concepts, a planning innovation for changeable and adaptable floor plans with solid sand-lime brick walls will be presented for the first time. This will provide architects, planners, investors and building owners with new, central planning perspectives for holistically constructed residential buildings in terms of design, user orientation and indoor living comfort. The design practice will be demonstrated to trade fair visitors using practical models.

Peter Theissing, Managing Director of KS-Original GMBH: “With this innovative concept, KS*, the brand association of medium-sized sand-lime brick manufacturers, is building a bridge between solid load-bearing and non-load-bearing interior walls and the flexible conversion of living spaces and existing buildings.” Other focal points are load-bearing-optimized slender walls, multifunctional detailed solutions for sound insulation and energy efficiency.

More information will be available during BAU 2017 at the KS* stand in hall A2, stand 321.

Entenfangweg 15
30419 Hanover
Hanover, Germany

ks-original.com

AI curriculum for architecture schools

Building design
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Architectural diagram of Garden by the Bay, Singapore, photographed by ANNIE HATUANH

Architecture and artificial intelligence – that sounds like Blade Runner, dystopian cityscapes and designs that write themselves. But while the world of ChatGPT and Midjourney looks on in fascination, one guild is asking itself: who will actually teach the next generation of architects how to use AI? Architecture schools in Germany, Austria and Switzerland are facing an epochal task: they need to deliver an AI curriculum that not only updates the profession, but gives it a whole new foundation. The question is not whether this will happen – but how quickly we can do it before the algorithm takes the sketch out of our hands.

  • Why an AI curriculum in architecture education is not a luxury, but essential for survival
  • How far German, Austrian and Swiss architecture schools really are in an international comparison
  • Which innovations and trends are shaping the AI age in design, planning and construction
  • What technical know-how and soft skills are required of budding architects
  • How digitalization and AI are changing architectural practice and education in the long term
  • Which debates, fears and visions accompany new learning
  • How sustainability, ethics and creative freedom can be safeguarded in the age of algorithms
  • What all this has to do with the global architecture debate – and why it’s high time we didn’t miss the boat

The big gap: Where does the AI curriculum stand at DACH architecture schools?

You can spin it any way you like: the digital transformation of the construction world has long been in full swing, but the curricula at German-speaking architecture schools are lagging behind reality. While lecture halls still teach form-finding on tracing paper and design criticism with pencil and red pen, AI tools have long been generating complex spatial structures, simulating climate and usage scenarios and optimizing load-bearing structures at the touch of a button. In Germany, some universities are experimenting with courses on generative design, data analysis and BIM-based planning processes. However, there is no systematic, mandatory integration of AI skills. Most curricula treat digitalization as an optional subject at best, as an add-on for tech nerds – not as a central foundation of education.

In Switzerland, the situation is slightly better. There are pilot projects in Zurich and Lausanne that integrate AI-based design processes into teaching. There are also some initiatives in Austria, for example in Vienna and Graz, where students are gaining initial experience with algorithmic design, parametric planning and machine learning. But: the big picture is missing here too. Traditional architecture teaching dominates, which sees AI as a tool, not a paradigm. The inhibition threshold is high. Many teachers are barely familiar with AI themselves, and the uncertainty as to how much algorithm is conducive to freedom of design is holding back the courage to undertake radical curriculum reforms.

At the same time, the international comparison is sobering. In the USA, the UK and China, AI courses have long been standard in architecture degree programs. There, dealing with generative models, data analysis and automation is seen as a key skill. A look at the graduate profiles shows: Anyone studying architecture abroad today leaves university with a toolbox that is often years ahead of their German, Austrian and Swiss counterparts. The result is a growing skills gap that the entire DACH region is unable to close with either excellence initiatives or individual projects.

However, the main problem is not of a technical nature. It is a mentality problem. There is still the idea that technology and design are opposites – that algorithms restrict creativity instead of expanding it. This attitude leads to a dangerous complacency. While international offices have long been using AI-supported design processes, smart material analyses and automated planning processes, here in Germany we are debating whether this is still “real” architecture at all. The question of whether we integrate AI into training is no longer an issue – it’s just a question of how and when.

The consequences are foreseeable: If you don’t offer an AI curriculum in architectural education today, you risk putting the next generation on the digital sidelines. Planning practice is evolving and the demands on young architects are increasing. If universities do not follow suit, they will be overtaken by reality. This is not alarmism, but sober analysis. Digital change is not waiting for the last skeptic.

AI, digitalization and the reinvention of architectural knowledge

What does this mean in concrete terms for the curriculum? First of all, it means a paradigm shift: away from the idea that digitalization is a specialist field and towards the insight that AI is redefining the entire architectural value chain. From the first sketch to the dismantling of a building, AI plays a role everywhere. It starts with the design, where generative algorithms generate endless variants, simulate material flows and optimize urban planning parameters in real time. Those who do not master these tools remain trapped in the analog age.

But AI means more than just new tools. It requires a new understanding of data literacy, modeling and creative control. Students need to learn how to curate data sets, train algorithms, check results and reflect critically. This includes technical know-how in programming languages, statistics, geoinformation systems and machine learning. But soft skills are also required: collaboration in interdisciplinary teams, ethical reflection and strong communication skills.

A modern AI curriculum must therefore be interdisciplinary. It is not enough to offer a few CAD or BIM courses and sell them as digitalization. What is needed is the integration of computer science, sustainability, sociology, law, economics and design. Architecture is becoming a platform discipline in which AI is not just a tool, but a co-designer. The curriculum must teach how to control and evaluate AI-supported processes and make them usable for society.

This is also where the debate about responsibility begins. Who decides how algorithms are built? Who controls the database? How transparent and comprehensible are the AI results that will decide on construction projects, urban design and choice of materials in the future? An AI curriculum must not be limited to technical skills. It must also teach ethics, governance and participation. The ability to explain, question and regulate AI will become a key qualification for the next generation of architects.

Finally, the question of creative freedom is central. AI can accelerate, optimize and rationalize design – but it must not replace the autonomy of the architect. The curriculum must therefore also teach how to use AI as a partner in creative processes without becoming a mere parameterization machine. It is about the balance between inspiration and automation, between human judgment and machine intelligence. Those who fail to teach this balance will at best produce technology administrators – but not designers of the built environment.

Sustainability, AI and the long road to resource-efficient construction

Every modern AI curriculum in architecture must cover a central topic: Sustainability. The construction sector is responsible for a large proportion of CO₂ emissions, resource consumption and waste generation worldwide. AI offers enormous potential here – if you know how to use it. Algorithms can optimize material flows, automate life cycle analyses, simulate urban planning scenarios and predict climate impacts. But this does not happen by itself. It requires experts who understand, apply and further develop the tools.

In practice, this means that students need to learn how to analyze data on energy consumption, building materials, transport routes and building use and derive sustainable planning decisions from this. They need to know how to train AI models on ecological targets, how to recognize conflicts between economic efficiency and environmental protection and how to evaluate new materials or construction methods with the help of AI. This requires not only technical knowledge, but also a deep understanding of interrelationships, interactions and system dynamics.

However, an AI curriculum must not be limited to efficiency optimization. It is also about social sustainability: how can algorithms help to create affordable housing, promote social integration and strengthen inclusion and participation? The answers to these questions are complex and often controversial. This shows how important critical reflection and interdisciplinary collaboration are. Students need to learn that sustainable architecture is more than just a good CO₂ balance sheet.

The challenges are not only technical, but also cultural and regulatory in nature. In Germany, Austria and Switzerland, there are numerous standards, certification systems and funding programs for sustainable building. AI-supported planning processes must be familiar with and comply with these framework conditions – or, even better, develop them further. This requires a close interlinking of research, teaching and practice. Universities, companies and public stakeholders must pull together to ensure that the AI curriculum does not remain in an ivory tower.

Ultimately, sustainability in the age of AI is a question of attitude. Only those who understand AI as a tool for the common good, not just for efficiency and profit, will be able to shape the building revolution. The AI curriculum must convey this attitude – and even more: it must enable students to see the digital transformation as an opportunity for a better, fairer and more sustainable built environment.

Debates, visions and the global perspective: architecture in the age of algorithms

The introduction of an AI curriculum at architecture schools is not a foregone conclusion. There are heated debates, doubts and resistance. Critics warn of an “algorithmization” of architecture, of the danger that design and creativity will be supplanted by data-driven processes. Others fear that AI will primarily benefit the large, financially strong offices, while small and medium-sized players will be left behind. There are ethical concerns: how do we prevent bias and discrimination when algorithms decide on space, use or material? Who controls the black boxes that shape our building culture?

Visionaries, on the other hand, see the AI curriculum as an opportunity to democratize architecture. AI can open up planning processes, facilitate participation and make complex contexts easier to understand. It can help to develop new forms of designing, building and using – beyond traditional routines. The topic has long since arrived in the global architectural debate. International competitions, research consortia and innovation labs show this: The question is not whether AI will change architecture, but how we shape this change.

For Germany, Austria and Switzerland, this is a challenge – and an opportunity to position themselves. Those who boldly invest in training AI skills now can prepare the next generation of architects for a world in which data, algorithms and creativity go hand in hand. Those who continue to hesitate risk losing touch and becoming the extended arm of international software providers. The AI curriculum is therefore also a way of securing sovereignty for building culture in German-speaking countries.

However, implementation is complex. It requires new teaching formats, flexible modules, further training for teachers and close cooperation with practitioners. Universities must open up, network and be prepared to take unconventional paths. For their part, students must learn to endure uncertainty, dare to try new things and critically question their own role in the digital ecosystem. This requires courage, openness and a good dose of curiosity.

And another thing is clear: the AI curriculum is not a static framework. It must constantly evolve and adapt to new technologies, social developments and ethical issues. The architecture of the future is dynamic, hybrid and more data-driven than ever. Only those who see the curriculum as a living process will shape change – instead of chasing after it.

Conclusion: the AI curriculum is mandatory, not optional

Architecture is at a turning point. Artificial intelligence is no longer a topic for the future, but a reality in design, planning and on the construction site. The response of architecture schools to this has so far been too hesitant, too fragmented, too old-fashioned. If you want to prepare the next generation for the digital building revolution, you need an AI curriculum that is more than just a technical add-on. It must combine design, technical, ethical and social skills – and turn students into designers of a digital, sustainable and fair building world. The time for waiting is over. If you don’t invest now, you will lose out. And not just the connection, but the future of building culture.