Hi there! Welcome to the second Supporters Newsletter, created exclusively for you. For the second edition, we are dedicating this issue to the concept of Theory & Practice. Featuring our Managing Editor of ArchDaily in Spanish, Fabian Dejtiar, we will delve into the discussion about the interactions between research and practice and how ArchDaily's content incorporates both areas. In addition, we are offering our Supporters a free course on Revit Flow, information on job opportunities at BIG, and our recommendations on digital tools.
https://www.archdaily.com/1006335/the-supporters-newsletter-issue-number-2ArchDaily Team
The concept of a city can be viewed as a constantly evolving system where both architects and users contribute to its design and redesign. While its framework may start with planners or designers, the character of the urban fabric is ultimately shaped by the societies and generations that inhabit it. The question of "city authorship" often arises in the context of masterplan design. Can architects and urban planners determine the extent to which a city will evolve through its initial design? The answer is no. User authorship then acknowledges that city planning should not be approached like building design, where designers attempt to predict every aspect of shape, pattern, behavior, and culture. Instead, it recognizes the role that people play in shaping the urban fabric through their personal taste in architecture, the development of neighborhood personality, and ongoing redesign that contributes to the story and spirit of a place. These factors should be considered in the initial design by engaging ideas related to future expansion, adaptable infrastructure, and empowering citizens to contribute to the city's architecture, thus making the city design democratic. This article explores conceptual radical cities where designers embrace the ideas of user authorship and the constant evolution of ephemeral architecture.
The use of pigmented concrete in Latin American architecture is growing - and influencing contemporary architectural expression. This can be seen in recent built works ranging from the INES Innovation Center designed by Pezo von Ellrichshausen in Chile to the Teotitlán del Valle Community Cultural Center by PRODUCTORA in Mexico.
Tourist facilities are a significant architectural program as they not only provide essential amenities for travelers but also encapsulate the cultural essence of a destination. Resorts and hotels experiment with ideas of comfort and leisure, restaurants bring visitors into the local culinary culture, while wineries merge craftsmanship, tradition, and modernity. Visitor centers are another facility often provided for travelers, serving as gateways to exploring the city. Besides their flexible program, these architectural interventions most often strive to relate and harmonize with the local context to enrich the narrative of the space and create a memorable experience for every visitor.
This week's curated selection of Best Unbuilt Architecture highlights projects submitted by the ArchDaily community that showcase various amenities dedicated to tourists, from wine cellars, specialty restaurants, and visitor centers to isolated camping sites in the mountains or lavish spa hotels in the arid areas of the Middle East. Featuring projects from emerging and established architectural offices such as Melike Altınışık Architects, Lockhart Krause Architects, MUA, and OMBI Innovation Lab the selection includes a wide range of programs and scales, showcasing designs that rethink conventional tourist facilities while establishing a connection with their surroundings and cultural context.
The Wizard of Oz (director Victor Fleming, cinematography Harold Rosson, 1939). Print Screen
Colors evoke specific feelings; therefore, they are used to elicit particular effects on the surface they appear on or in the minds of observers contemplating them. In architecture, color plays a fundamental role in defining shape. Materials in their natural state already possess inherent coloration, which is perceived in a specific manner. However, when dyed, the observer's perception is altered, giving rise to associations between different sensations related to the same object. This transformation brought about by color occurs in various visual mediums, spanning from three-dimensional contexts like architecture to static and mobile two-dimensional forms such as engravings, photographs, paintings, and films.
Amidst the current wave of architectural globalization, the art of crafting designs attuned to specific contexts is fading. This concern is especially significant in countries in crisis, such as Ukraine, where the built environment's history is being eroded by war. In these conditions, the contribution of local architects with an innate grasp of the country's cultural nuances becomes imperative. Leading the charge in the rebuilding of Ukraine is prototype, a pioneering practice that challenges architectural conventions to push the country towards a promising future.
Recognizing their forward-looking vision, ArchDaily has featured prototype as part of the 2023 New Practices, a global annual survey. prototype's outlook on the future of architecture aligns with responsible design that addresses the environmental impact of construction and marries contextual and specific considerations for each project. Their recent accomplishments include the bookstore Readellion, and Ukrainian-Danish Youth House, epitomizing prototype's recurring design principles of mobility, adaptability, dynamic levels, and change of scenarios.
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Sto distribution centre in Hamburg, Germany. Designed by Michael Wilford & Associates, 1994-1995. Photographed by Richard Bryant, image courtesy of Sto
Contrary to popular belief, Roman buildings were not as monochrome as previously thought. Recent discoveries indicate that statues and structures were, in fact, richly adorned with bright colors and exuberant decorations, following the tradition established by their Greek predecessors. This may be surprising, but it shows the presence of color in architecture much earlier than imagined. Color has always played a significant role in shaping the perception and experience of a space, and was prominent in the works of seminal architects such as Le Corbusier and Luis Barragán, for example. Another master of the use of color was Michael Wilford, who, together with his former partner James Stirling gained international recognition with notable public buildings, art centers, museums, and libraries located worldwide. The volumes present in Wilford's architecture are often remembered for their careful use of color, which highlights certain elements and adds other dimensions to the structures.
Circles, as a fundamental geometric shape, possess a captivating and harmonious quality that has been seamlessly integrated into architecture and design across various eras and styles. From subtle accents to bold focal points, the use of circles in interior design transcends mere ornamentation, often symbolizing continuity, connection, and a soothing visual rhythm. With their endless and unbroken curves, they offer a sense of unity, movement, and balance that can transform spaces into inviting and aesthetically pleasing environments – an effect especially useful for interior design. In this article, we take a look at 27 projects from our ArchDaily database that illustrate circular forms in interiors across the globe.
Sanders highlighted the results of a five-year assessment of the LAF fellowship program and its efforts to grow the next generation of diverse landscape architecture leaders. The assessment shows that past fellows are shaping the future of the built environment in key public, non-profit, and private sector roles.
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Gent Waste Brick. Image Cortesia de Carmody Groarke
There are several symbols that transcend language barriers and are easily recognized and understood by people from different cultures. Examples include the male and female bathroom icons, the cross symbolizing health, and the universal Wi-Fi symbol. Among these universal icons is the recycling symbol, conceived in 1971 by Gary Anderson, an architect and designer who was a student at the University of Southern California. Depicting a continuous cycle, it is a triangle with three arrows arranged clockwise, each of which represents the industry, consumers and recycling.
Central to the concept of the circular economy is the reintegration of materials typically viewed as waste back into the production cycle. This concept is particularly important for the construction industry, which has historically depended on the destruction and extraction of resources in order to exist. In this case, nothing is more symbolic than the brick, which not only represents the construction of new things, but is also the perfect example of how to apply the concept of circularity. Creative minds have embraced the challenge of circularity, devising solutions that transform discarded materials into high-value resources and generating a wide range of products, using raw waste materials that range from seaweed and plastics to human hair. These innovations not only address pressing environmental issues but essentially redefine the way we build and inhabit our spaces. In this article, we highlight seven initiatives that are turning waste into bricks.
Sede de Copenhague – Fotografía de Hampus Berndtson . Image Cortesía de SPACE10
Ten years ago, SPACE10 was born as a pioneering platform ushering in a novel approach to corporate innovation, consolidating itself for its ability to be open, democratic, driven by a playful purpose, and community-oriented. Composed of a small core team of around 23 people based in Copenhagen, their efforts have focused on combining the power of creativity, science, and technology to find solutions that address the accelerated climate crisis and social injustices.
The tradition of modern architecture confirms that building roofs are usable spaces as significant as indoor areas. After all, the garden terrace is one of the five points of new architecture, according to Le Corbusier. Although he popularized the concept, the use of rooftops dates back even earlier, encompassing various roles across time, from lookouts for ancestral astronomical studies to more contemporary cultivation areas, passing through the bureaucratic accommodation of electrical and sanitary installations. By offering open space and direct sky access, building roofs have evolved. In dense urban landscapes, converting this space into a leisure area is a logical choice.
Ever since the birth of our cities, we’ve made sure to protect the green spaces within them. Civilizations as far back as the Romans built expansive parks in the heart of the city with ‘Rus in Urbe’ – translating as ‘Country in the City’ – still referenced today. In order to control the urbanization boom of the mid-20th century, meanwhile, greenbelt policies across many European cities literally ring-fenced the natural environments surrounding them, making air quality and easier access to nature a part of city life.
The post-pandemic city, however, is a new breed of conurbation, and these city parks and greenbelts are no longer enough. As we migrate away in search of greener, healthier climes, the cities we’re leaving are evolving, proving they can be green too by exchanging lesser-used black surfaces of roads and structures for natural grass- and parkland. These four projects from across Europe transform unused city spaces back into the natural and regenerative green environments they once were.
This article is the fifth in a series focusing on the Architecture of the Metaverse. ArchDaily has collaborated with John Marx, AIA, the founding design principal and Chief Artistic Officer of Form4 Architecture, to bring you monthly articles that seek to define the Metaverse, convey the potential of this new realm as well as understand its constraints.
Science fiction writers inspire us with bold and provocative visions of the future. Huxley, Orwell, Assimov, and Bradbury easily come to mind. They have imagined great advances in technology and oftentimes predicted shifts in social structure that were a result of the human need to open Pandora's Box. A large part of the charm and allure of science fiction is the bold audacity of some of these predictions. They seem to defy the laws of nature and science, and then, faster than you might have thought, the spectrum of human inventiveness makes it so.
Cantercel, France, 2022. Image Courtesy of forty five degrees
When talking about space-making practices, architects and urban planners are usually thinking about participatory planning and collaborative processes, often overlooking the ways in which the communities themselves can become their own agents of change. As the people poses an intimate knowledge of not only their environment, but also of social and cultural norms, the needs of their communities and latent opportunities within their surroundings, they are often the ones initiating actions, supporting their peers and contributing positively to their locality. Research-focused office forty five degrees set out to explore these grass-roots initiatives, to meet the locals and gather their stories in an effort to gain a better understanding of the complex and diverse cultural territories across Europe. Their journey, organized under the “Radical Rituals” project, follows the 45°N parallel line that transverses Europe from East to West. The office has been selected as part of ArchDaily's 2023 New Practices, an annual survey aimed at showcasing those who adress the ever-growing challanges of our times and take architecture to new directions.
Housing has always been a significant issue in metropolises. It accommodates the city's population and can impact other urban concerns, such as the necessary commute between home and work or school.
Broadly, urban densification enjoys widespread acceptance in urban planning. In today's context, the correlation between densification and housing is addressed by designing high-rise buildings with smaller floor areas. This approach yields apartments with minimal functionalities, known in Brazil as kitchenettes. As with any architectural type, these compact residences have advantages and disadvantages, serving either as a model of efficiency or as an illustration of housing instability.
The Second Studio (formerly The Midnight Charette) is an explicit podcast about design, architecture, and the everyday. Hosted by Architects David Lee and Marina Bourderonnet, it features different creative professionals in unscripted conversations that allow for thoughtful takes and personal discussions.
A variety of subjects are covered with honesty and humor: some episodes are interviews, while others are tips for fellow designers, reviews of buildings and other projects, or casual explorations of everyday life and design. The Second Studio is also available on iTunes, Spotify, and YouTube.
This week David and Marina of FAME Architecture & Design discuss the unique challenges of residential remodels and how they solve them. The two cover project scope and vision, design analysis, three different types of remodel projects and how they should be approached, predicting and planning for construction surprises, having an adaptable mindset, the most common challenge clients face (scope creep), and more.
https://www.archdaily.com/1005381/the-second-studio-podcast-overcoming-the-challenges-of-remodelsThe Second Studio Podcast
The spatial distribution of a restaurant or bar is essential to its success. Faced with this design challenge, several architects have experimented and proposed configurations that both enhance the use of space in different culinary experiences.
With this being said, take a look at 50 gastronomic establishments in plan and section to inspire your next design.
Our daily lives involve constant communication with the city. As we move through different spaces, we ask ourselves questions like "Where am I now?", "Where am I headed?", "What am I looking for?", "What is this building for?", and "How do I experience this space?" While spatial encounters may feel intuitive, environmental graphic design (EGD) provides the answers by serving as an important interface between us and the built environment. It involves the design of graphic elements that merge with architectural, landscape, urban, and interior designs to make spaces more informative, easier to navigate, and memorable. EDG comprises three major elements: text, shape, and color. Text and shapes typically encapsulate the graphic information, but color projects it, amplifies it, and helps communicate it within the packed scenes of the city. In spatial experiences, we perceive colors first, since our senses mostly register visual sensations. Therefore, the strategic use of color is critical for environmental graphics to provide a layered experience of identity imagery, sense of place, and emotional connection.
Kengo Kuma uses materials to connect with the local context and the users of his projects. The textures and elementary forms of constructive systems, materials, and products, are exhibited and used in favor of the architectural concept, giving value to the functions that will be carried out in each building.
From showcases made with ceramic tiles to the sifted light created by expanded metal panels, passing through an ethereal polyester coating, Kuma understands the material as an essential component that can make a difference in architecture from the design stages. Next, we present 21 projects where Kengo Kuma masterfully uses construction materials.
Origin myths,” “founding myths,” and “creation legends” provide a way for us to see into and imagine the distant past in metaphorical, poetic, and compelling ways. The oldest origin myths help us understand how a people or a place (such as the universe) were believed to have come into existence. Anthropologists describe these as creation myths or “cosmogonic” myths. They might explain how the world came to be. For example, Native North American peoples such as the Cherokee, Ojibwe, and Aztecs share an origin myth that land was first created on top of a great ocean. One of the most common Western origin myths is the creation of Adam and Eve. But founding stories exist for all kinds of social conditions, historical customs, and objects, as well as places—think of the myth of the brothers Romulus and Remus, suckled as babies by a wolf, who survive to found the city of Rome (after Romulus got rid of his brother).
After years of dominance, orthogonal lines and right angles are giving way to organic designs and rounded shapes within interior design projects. This profound shift in formal language has led to the infiltration of gentle curves and amorphous volumes into design pieces, furniture, and decorative elements, a transformation that's becoming increasingly evident. Some argue that this change may be indirectly linked to the growing interest in sustainability and the pursuit of strategies that reconnect people with nature, as seen in the consistent presence of biophilia across projects of various scales. The period of social isolation during the COVID-19 pandemic further heightened this inclination, prompting individuals to devise ways to incorporate nature into their living spaces, thereby enhancing well-being in day-to-day life.
The Monadnock Building in Chicago began construction in 1891 and is still in use today. The building features a somber facade without ornamentation and a colossal height - at the time - of 16 floors. It is considered the first skyscraper built in structural masonry, with ceramic bricks and a granite base. To support the entire load of the building, the structural walls on the ground floor are 1.8 meters thick, and at the top, 46 centimeters. One hundred and thirty years later, this construction system remains common and allows for the erection of taller buildings with much thinner walls, accomplishing even new architectural works economically and rationally. But what is structural masonry about, and how can designers use it in architectural projects? And for what kinds of buildings is this system most suitable?
.jpg?1558730231 "Green Cast / Kengo Kuma & Associates. Image Courtesy of Kengo Kuma and Associates")
