If you needed any more proof that 2014 was a good year for houses, this might be it. Among our 20 most viewed projects this year are no fewer than 17 private residences, which share the limelight with an apartment interior, a residential skyscraper, and a museum which no doubt received a boost in its exposure thanks to a certain jet-lagged octogenarian and his middle finger. From Frank Gehry to Studio MK27—who make the cut with not one but two projects—here are the 20 most popular projects of 2014.

For another year, in 2014 ArchDaily has featured hundreds of houses from designers around the globe, with homes that appear to float above ground, sink below grade, snake through forests, jut over cliffs, and blur the line between building and environment. This year, we've seen some of the most intuitive, outlandish, and creative designs cropping up around the world, from São Paulo to Ho Chi Minh City to Stockholm, and to celebrate the end of the year we've rounded up our 50 best projects from 2014, representing an incredible range of living environments from the world's most innovative architects.

Enjoy the sandy surrounds of House in Miyake or the minimalist paradise of Love House; or escape for a getaway to Weekend House in Downtown São Paulo. Find out which houses stray from the norm, reviving the wooden cottage and redefining the stone cabin with a touch of linearity and serious panoramic views. Step inside wondrous spaces that soar skyward or connect with the earth, speak to the divine or convene with the spiritual – and yet all share the unmistakable feeling of 'home.'

Find out which houses make our list after the break

Cool Spaces! The Best New Architecture has released their first full episode online. The PBS television series, hosted by Boston-based architect and professor Stephen Chung, AIA, profiles the most provocative and innovative public space architecture in North America. With the general public as its targeted audience, each hour-long episode is organized around a central theme - such as Art Spaces - and profiles three buildings. In this episode, Chung discusses what makes Tod Williams Billie Tsien’s Barnes Foundation, Steven Holl's Nelson-Atkins Museum of Art and Phil Freelon's Harvey B. Gantt Center so cool.

“People often ask me what Cool Spaces is all about. And I never can answer without giving a bit of background,” says host Stephen Chung. “You see, it really begins over seven years ago, during the recession, which decimated the architecture profession. In a four-year span, approximately 30% of all architecture jobs in the U.S. were lost — including my own. This time away from practice allowed me to reflect on the profession and its problems and to think about what role I might play in bringing about some positive change."

Now, after 130 private screenings in 26 countries, you can watch the official world premiere of Archiculture here on ArchDaily. The 25-minute documentary captures a rare glimpse into studio-based design education, trailing five architecture students throughout their final thesis semester at Brooklyn’s Pratt Institute.

For many architects, the chance to make an impression on the landscape of New York City is a sign of distinction, an indication that they have "made the big time." But it's not just architects who have this desire: for decades, the city's big industrial players have also striven to leave their mark. However in this article, originally posted on New York YIMBY as "How New York City is Robbing Itself of the Tech Industry’s Built Legacy," Stephen Smith examines where it's all gone wrong for the city's latest industry players.

Strolling through the streets of Manhattan’s business neighborhoods, you can pick out the strata of the city’s built commercial heritage, deposited over generations by industries long gone. From the Garment District’s heavy pyramidal avenue office towers and side street lofts, dropped by the garment industry in the 1920s, to the modernist towers like Lever House and the Seagram Building, erected on Park and Fifth Avenues during the post-war years by the country’s giant consumer goods companies, each epoch of industry left the city with a layer of commercial architecture, enduring long after the businesses were acquired and the booms turned to bust.

But 50 or 100 years into the future, when our grandchildren and great-grandchildren stroll through the neighborhoods of Midtown South that are today thick with technology and creative firms, they are not likely to find much left over from the likes of Facebook or Google. There will be no equivalent of Grand Central or Penn Station, Terminal City or the Hotel Pennsylvania, left over from the early 20th century railroad tycoons, or SoHo’s cast iron buildings, developed by speculators seeking to feed the growing textile and dry-goods trades of the late 19th century. Perhaps unique among New York’s large industries, the tech and creative tenants that have become the darlings of the current market cycle are leaving very little behind for future generations to admire.

I recently had the opportunity to visit Finland, representing ArchDaily on an architecture press tour organized by the Museum of Finnish Architecture. This was a chance for me to see firsthand some of the recent architecture projects built in the last several years by young architects.

I would like to share with you some of the lessons and best practices I learned from Finnish architecture that I believe we could apply to our work as architects (especially in Latin America, where I am from).

Following the highly anticipated world premiere of Archiculture (watch here!), Arbuckle Industries is now releasing over 30 never-before-seen full length interviews with some of the industry’s leading influencers, all discussing the profession and how we are or should be training the next generation of designers. The first of the series featured Columbia’s Kenneth Frampton on whether or not architecture should be considered a luxury. Now, this most recent installation delves into just how policy makers can affect the built environment, interviewing politician and former Governor of Massachusetts Michael Dukakis.

Cultured, one of the leading art, architecture and design magazines, has shared with us part of the 16-page photo essay “No Filter” by Iwan Baan that is being featured in its Winter Issue, on stands now. Enjoy!

If you pore endlessly over images of architecture the way we do, chances are you’ve been drooling over work captured by Iwan Baan. Though he’s adamant that he not be referred to as an “architectural photographer,” Baan has probably captured more buildings, pavilions, residences and just about every other structure in between than any other single lensman. Yet it is Baan’s background in documentary photography that most influences his work. “I choose my projects not so much for the architecture, but for its relationship with the city around it and how people respond to it,” says Baan. “I’m trying to tell the story of the built environment—the places where we live.” Here, Baan tells the story behind 11 projects completed this year, and two others that he has a personal connection to.

“I love great architecture that is very specific for its site and client, it’s for an architect always a dance between him, a site and a client. Here, Gehry was given complete freedom to design every detail, every nook and cranny of a building for Bernard Arnault to house his art collection.”

Read on for more quotes and images by the renowned Iwan Baan. 

Following the highly anticipated world premiere of Archiculture (watch here!), Arbuckle Industries has now shared with us the first of over 30 never-before-seen full length interviews with some of the industry’s leading practitioners, all discussing the profession and how we are or should be training the next generation of designers.

In the UK, the commissioning of buildings is in crisis. The government and the industry as a whole is short-sighted, putting too much emphasis on function and too little thought into what makes for a long-lasting, and in that respect sustainable, building.

What is it that prompts a person to own a classic car or a family to continue to use old silver when both involve so much hard work? Why not buy a new car or use stainless steel cutlery? By convention these possessions have reached the end of their natural life, they require careful maintenance and in many cases they don’t function as well they might - they are obsolete. Their continued use requires a conscious commitment - time and money - on the part of their owner. But then, in time, this responsibility stops being a burden and instead becomes a cause for satisfaction and enjoyment.

It is a question that could be asked of those who commission and use buildings.

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We have just surpassed 100,000 followers on Pinterest! To celebrate, we would like to share with you the 22 most pinned images of all-time by our ArchDaily readers.

For those of you who have yet to join Pinterest, we suggest you consider, as it is a marvelous way to visually organize inspiration and information. Just take a look at one of our many “boards;” from “stairs” to "interiors,” we promise to continually provide your Pinterest feed with new and inspiring work.

Take a look at the 22 most popular ArchDaily pins on Pinterest, after the break. Happy pinning!

After receiving close to 150 holiday card submissions – including a "Bjarke, the Herald Ingels" singing, and several angry Gehry-Clauses – we’ve selected three winners! Take a look at the winning submissions as well as some of our favorite cards after the break, and get ready to celebrate the holidays the architect’s way.

ArchDaily's 2014 Holiday Card Contest has been generously sponsored by Mosa.

The Architectural Review has selected the winners of the 2014 AR Emerging Architecture Awards. Now in their 16^th year, they are one of the most prestigious awards for young architects and emerging practices. Past winners have included Sou Fujimoto, Thomas Heatherwick, Sean Godsell, Jurgen Mayer H. and Li Xiaodong.

Given to completed projects, entries can include buildings, interiors, landscaping, refurbishment, urban projects, temporary installations, furniture and product designs. This year the jury was comprised of Catherine Slessor, Hilde Daem, Li Xiaodong, Steven Holl and Will Alsop.

Read on after the break for this year’s Emerging Architecture Award winners.

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The European Commission and the Fundació Mies van der Rohe have selected 420 projects to compete for the 2015 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. The nominations span 36 countries, with the most nominated projects coming from Spain. Twenty-seven percent of the shortlisted projects are housing related, while 24% are cultural facilities, 11% are education-related and the remaining 33% are sport, commercial, governmental, transport and urban projects.

Established in 1987 by the European Union, the European Commission, the European Parliament and the Fundació Mies van der Rohe – Barcelona, the 60.000€ Mies Van der Rohe award is one of the most prestigious and important awards for European architecture. The prize is awarded biennially to works that have been completed in the past two years. Previous winners have included the Harpa Concert Hall and Conference Centre in Reykjavik, designed by the Danish architectural firm Henning Larsen in collaboration with the Islandic practice Batteríið and the artist Olafur Elíasson, and the Neues Museum in Berlin, designed by David Chipperfield Architects and Julian Harrap.

An Emerging Architect prize for professionals beginning their career as well as the Young Talent Architecture Prize (YTAP) for the best European master’s projects from 2014 will also be awarded. In addition, this year for the first time the jury will include a client who has supported high quality architecture and commissioned projects to European architects. The jury will select the shortlisted projects by the end of January 2015.

Read on after the break for the members of the jury, the full list of all 420 nominated projects and ArchDaily's exclusive Mies van der Rohe Award infographic.

On a recent trip abroad, architect and urban planner José Castillo was struck by a conversation with Mexico’s tourism attaché in Asia. Mexican tourism, the attaché remarked, has changed; it was the ancient pyramids and sandy beaches of the country that once drew visitors to it. Today however, architecture and design—and food—prevail.

The issue of food may be of little wonder. Mexican cuisine has indeed become more popular than ever in both the high and low ends of the culinary spectrum, and food in general is not only what one eats for dinner but also a hobby and an obsessive conversation topic. Yet for local design to come to the same level of acclaim and reputation is, at any rate, quite astonishing. It may be, though, that food and architecture are not so far apart. These are both highly creative and productive professions, as well as ones with a rich history, a theory, and many layers of tradition.

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Videos

Interiors is an online film and architecture journal, published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors runs an exclusive column for ArchDaily that analyzes and diagrams films in terms of space. Their Official Store will carry exclusive prints from these posts.

In their first collaboration together as writer and director, John Hughes and Christopher Columbus produced Home Alone (1990). This quintessential Christmas film is a prime example of a “movie home” -- a home that is made iconic and famous with its appearance in a popular film.

The film concerns itself with Kevin McCallister (Macaulay Culkin), a young boy whose family accidently leaves him home alone after leaving for a vacation. In this small suburban town, on Christmas, their home is targeted after a string of successful break-ins in the neighborhood. The McCallister Residence as a result becomes the central space where the majority of the action in the film occurs.

The production used an actual home for the setting of the film. The home’s location is 671 Lincoln Avenue in Winnetka, Illinois, north of Chicago. The majority of the interiors were filmed on location, including most of the first floor, while several rooms were recreated and filmed on a sound stage. Interiors visited the location in July 2014.

By all accounts 2014 has been a great year for landscape architecture, and not just because of the completion of the final phase of the High Line by Diller Scofidio + Renfro and James Corner Field Operations. Previously published by the Huffington Post as "2014's Notable Developments in Landscape Architecture," this roundup of the year by the President of The Cultural Landscape Foundation Charles A Birnbaum finds plenty of promising developments, marred only slightly by some more backward-looking descisions.

This year there was a cultural shift that saw landscape architecture and its practitioners achieve an unprecedented level of visibility and influence.

This year the single most notable development came courtesy of the New York Times architecture critic Michael Kimmelman who wrote: "Great public places and works of landscape architecture deserve to be treated like great buildings."

Landscape architecture and architecture on equal footing. Let that sink in.

In recent years, it's been difficult to miss the spate of supertall, super-thin towers on the rise in Manhattan. Everyone knows the individual projects: 432 Park Avenue, One57, the Nordstrom Tower, the MoMA Tower. But, when a real estate company released renders of the New York skyline in 2018, it forced New Yorkers to consider for the first time the combined effect of all this new real estate. In this opinion article, originally published by Metropolis Magazine as "On New York's Skyscraper Boom and the Failure of Trickle-Down Urbanism," Joshua K Leon argues that the case for a city of the one percent doesn't stand up under scrutiny.

What would a city owned by the one-percent look like?  

New renderings for CityRealty get us part way there, illustrating how Manhattan may appear in 2018. The defining feature will be a bumper crop of especially tall, slender skyscrapers piercing the skyline like postmodern boxes, odd stalagmites, and upside-down syringes. What they share in common is sheer unadulterated scale and a core clientele of uncompromising plutocrats.